Castle of Frankenstein 001 (1962.Gothic Castle)

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[im inii; COLLECTOR'S EDITION

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You think, my dear friend, that I have created a MON'5TZ.” But you are wrong; for whether my creation.be beautiful : ugly., .a success or failure, I have put into Man's domain an attempt of the "impossible”; a pursuit of Man's wildest dreams. Whether I be hailed as scientist or devil, I would only that the name of FRANKENSTEIN go down in history synonymous with those things regarded as among the heights of Man's IMAGINATION.

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CASTLE OF FRANKENSTEIN VOLUME ONE NUMBER ONE JAN. 1962 Charles Foster Kane, Executiv« Editor & Publisher BARON VICTOR FRANKENSTEIN III, Editor LARRY IVIE. Consulting Editor OPERATING TABLE OF CONTENTS THE BORIS KARLOFF STORY THE COMPLETE MUMMY THE TIME MACHINE HORROR FILM CAVALCADE THE MYSTERIANS ZACHERLEY'S CONTEST JACK THE RIPPER FRANKENSTEIN, 1970 HUS sufiniss DEPARTMENTS and FEATURES Photo credits: &raeti Genrs Universal- Inter national MGM Bert Gray Columbia Paramount Allied Artists Films A Filming Glenn Ireton CBS-TV WOB-TV 20th Century-Fox United Artists Janus Films American- International CASTLE OF FRANKENSTEIN., Pubiialied quarterly and ©copyrighted 1961 by Gothic Castle Publishing Co.; editorial & subscription address; Box 43, Hudson Heights Station, North Bergen, New Jersey. Application foraecond class tnaiUng priviliges pending at North. Bergen, N.J.,with additional en- try at Boston, Mass. Price: 7 issues $2.; 11 issues $3; please add $1 out- side U.S.A.. Contributions are welcomed(lnclude stamps & envelope).

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Zita Johann, below, being dragged by Noble Johnson to his leader, THE MUMMY. The second mummy, Kharis, was ex-cowboy star Tom Tyler. A year later (1941) Tyler was to play the role of CAPTAIN MARVEL in a film serial. After Tyler's THE MUMMY'S HAND came THE MUMMY'S CURSE, THE MUMMY'S TOMB, and THE MUMMY'S GHOST.all featu- ring Lon Chaney Jr. Last, before the current Hammer production, was ABBOTT AND COSTELLO MEET THE MUMMY.

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(Smfsc '^^avao^s ■HE WHO TRESPASSES ON MV PROPERTY OR WHO SHALL INJURE MY TOMB OR DRAG OUT MV MUMMY, THE SUN GOD SHALL PUNISH HIM. HE SHALL NOT BEQUEATH HIS GOOD TO HIS CHILDREN. HIS HEART SHALL HAVE NO PLEASURE IN LIFE. HE SHALL NOT RECEIVE WATER FOR HIS SPIRIT TO DRINK IN HIS TOMB. AND HIS SOUL SHALL BE DESTROYED FOREVER." ^ all the rest, the latest Mummy was the- atrically released by Universal-International Pictures, but unlike his predecessors, he is not a domestic product. England’s Hammer Film Pro- ductions have made this particular Egyptian return to life (if "life” it can be called) — and a bang-up job they’ve done, too! Hammer should be a name familiar to alert horror movie-goers. They are the monster mak- ers who created such a stir, two years ago, with their Technicolor version of your editor’s family entitled THE CURSE OF FRANKENSTEIN Then, in 1958, they came through with HORROR OP DRACULA, one of the top shockers of the past few years. Recently their productions have included THE HOUND OF THE BASKER- VILLES, and THE MAN WHO COULD (^lEAT DEA'TH (undoubtedly an individualist who suc- ceeded in evading taxes). Hammer’s name has become B3monymous with quality in the special field of horror and fantasy films. You have only to compare their productions with the shoddier, cheaply made outpourings of lesser firms to see the difference. Like all Hammer Productions, THE MUMMY was put together with taste and much care. Money has been spent — perhaps not as much, even on the more modest British scale, as AROUND THE WORLD IN 80 DAYS, or a PORGY AND BESS — but enough to make it

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stand out from the rest of the eerie crop. Good color photography, lavish sets and costumes (particularly in the scenes laid in ancient Egypt) and intelligent writing, direction, and acting are reasons for THE MUMMY’S success. If, at the climax, it proves a trifle disappointing, and some of the other scenes do not come up to our fullest expectations, these are really small defects in an expert and generally satisfying weird fantasy. High Priest Kharis (CHRISTOPHER LEE) officiates at the funeral procession of Princess Ananka in the year 2(X)0 B.C. Kharis had secretly l^n in love with the Ijeautiful Print^ss, a forbidden affair as the high priestess was bound by all vows to the god Kamak. Attempting to resurrect his sweetheart, Kharis was discovered in the tomb of Ananka by soldiers vvho cut off his tongue as punishment and then buried him alive. Particularly impressed are the scenes laid in ancient Egypt, and those showing the idol of Kamak, the ancient god. Responsible for much of the authentic detail is Andrew Low, an expert on historical art and Egyptology. Under his supervision the company filmed sequences showing a mourning ceremony, the process of embalming, and finally the long, elaborate funeral procession. The incantations that are spoken are very well done, and resemble closely actual passages from “The Book of the Dead,” the ancient Egyptians bible. English explorer Stephen Banning (FELIX AYLMER), center, has spent twenty yeare in que^ of the tomb of Princess Ananka. He is joined in hi^s search bv Joseph Whemple (RAYMOND HUNT- LEY), le’ft, and his son, John Banning whose role is played by PETER CUSHING. Peter Cushing, who stars in the role of John Banning, is becoming increasingly well known to American audiences. He played the part of the sinister doctor in Hammer’s first Frankenstein film, then repeated it in REVENGE OF FRANK- ENSTEIN. Turning from evil to good, he wj« “Van Helsing” in THE HORROR OF DRACTJLA, and Sherlock Holmes in THE HOUND OF THE BASKERVTLLES — all Hammer productions. He first came to public view in the leading role of “Winston Smith” in the British telecast of “1984” (the same part was played on American TV by Eddie Albert, and later by Edmond O’Brien on the screen). He also appeared in Laurence Oliver’s production of HAMLET, and in such diverse films as ALEXANDER THE GREAT, and 'THE ABOMINABLE SNOWMAN. Also co-starred is Yvonne Fumeaux in the dual roles of Isobel and the Princess Ananka. Bom in France, the ravishing actress has played in films in both Europe and England, including THE BEGGAR’S OPERA (this must be the one about the man who couldn’t evade taxes) .

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IllL ILllUUU ILAM Behind the camera are the practised hands of director Terence Fisher and writer Jimmy Sang- ster. This is the team responsible for THE CURSE OF FRANKENSTEIN and THE HOR- ROR OF DRACULA. The mild-mannered Fisher has also done THE MAN WHO COULD CHEAT DEATH, and THE HOUND OF THE BASKER- VILLE, and a few years before THE FOUR- SIDED TRIANGLE. He prefers his films to be called “macabre” rather than “horror.” “I have always tried to avoid being blatant,” he says. “Whenever possible I have used the camera to show things — particularly nasty things — happening by implication.” Fisher hopes to some day do a “gentle love story.” But meanwhile. Hammer is planning new versions of DR. JEKYLL & MR. HYDE, and THE PHANTOM OF THE OPERA, and Fisher wiU probably have a hand in them (or most likely a nice long claw). Jimmy Sangster is one of the screen’s most prolific writers of horror scripts. Still young, he can already look back on the scripts of X, THE UNKNOWN, the FRANKENSTEIN and DRACULA films, BLOOD OF THE VAMPIRE, THE TROLLENBERG TERROR (caUed THE CRAWLING EYE in the U.S.), and THE MAN WHO COULD CHEAT DEATH (darn if this crook doesn’t pop up again!). Funny thing is that desipte his rhyming name, Sangster has yet to do a film about a gangster. Undoubtedly he will be around for many more of Hammer’s masterful fantasies and monsterpieces. THE MASK OF ANUBIS Mr. Low has an odd story to tell of the making of The Mummy. For the Egyptian sequence, a head-and-shoulder mask was made. It showed the god Anubis, shaped like a man but with a jackal's doglike head. The mask was made by Margaret Carter, a professional mask-maker. It was copied from a photo of the original, which is in the Cairo Museum. “After working on the While working on the Egyptian diggings, they are approached and warned by Mehemet (GEORGE PAS- TELL I , left, that their project must be halted. They ignore his warnings and shortly thereafter their tunnel- ing reveals a gallery fronted by ornate doors. The elder Banning discovers a sarcophagus carved to resemble the beautiful Princess Ananka, Left alone briefly by Whemple and young Banning, the elder Banning goes I into a complete state of shock and is returned to England a seemingly ho|>eless mental case. Mehemet has vowed vengeance on those who have desecrated the death of Princess Ananka. The elder Banning continues in a state of mental shock in a hospital. One evening a coffin falls from a horse-drawn cart manned by two of Mehemet’s hirelings and sinks into a deep bog alongside the road. That night, Mehemet’s intonement of the Scroll of Life at the quag- mire causes a violent disturbance and from it rises Kharis, The Mummy, a frightening seven foot tall giant. (continued next page)

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At the instruction of Mehemet, the beastly Mummy smashes into the hospital and strangles the hysterical Stephen Banning- The police are mystified by the death of the explorer but the latter’s son recalls the legend of the love between the High Priest Kharis and Princess Ananka thousands of years before. After killing the elder Banning, The Mummy returns to the Banning home, wards off John Banning’s useless gunshots, and is crushing him to death when Isobel (YVONNE FURNEAUX) enters the room and screams in terror at the sight. mask for several days,” says Low, “Miss Carter came to me and complained that every time she studied the photograph closely she experienced a sensation she could only describe as “dis- turbing”. “I told her that thousands of others, including myself, had felt the same way after staring at the mask for long periods. It is impossible to describe this feeling. All I can say is that the mask exercises a curious hold on the viewer — one that is somehow sinister. The giant stares at the girl who bears a close resemblence to the Princess Ananka, as her husband had so often insisted, and shambles off into the night. The Mummy is now ordered by Mehemet to kill Isobel, but in his rag? The Mummy crushes the Egyptian Svengali to death and escapes with Isobel into the bog. Banning and police open fire simultaneously with their guns, pulverizing the frightful giant whose shattered hulk forever disappears under the slimy waters of the swamp from which he had first risen.

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Vs lJ JJwould you like to be able to travel through time? To visit the past or the future at will? To zoom along, a thousand years at a clip, stopping wherever you like? You may not be able to do that, but you can do the next best thing — you can see it on the screen. In George Pal's new science fiction thriller, THf TIME MACHINE, that's just what happens. Time Traveller Rod Taylor visits the fantastic future world of 802,701, where he sees the grotesque MORLOCK monsters, strange underground cav> erns and machines, and the Eloi, a race of small people who are the prey of the huge Morlocks. Since this is a Hollywood picture he also meets a girl, Weena (Yvette Mimieux). Other scenes in this big, impressive color feature include an atomic war 6 years from now, the world being flooded with burning iava, a talking ring (shown on the previous page) and the de- struction of an underground land by fire. It is the

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RIDE THE TIME rtiKU THE 4th DIMENSION. . . VISIT THE LAND OF THE SENSUOUS ELOI AND THE CANNIBALISTIC MORLOCKS . . . LISTEN TO THE TALKING RING . . . SEE THE EARTH IN THE YEAR 802, 701 ! second time producer Pal has made o film from an H. G. Wells book. The first was THS WAR OF THE WORLDS. (He also made the famous DESTINA- TION MOON, the first of the many recent SCI-FI films). Special electronic sounds were devised to add to the strange effects, as well as a musical score to bridge the gap from 1899 (when the film starts) to the present, and on beyond into the far future. The music runs the gamut from Victorian melodies to cool jazz and rock and roll, and also includes dixieland, swing, and the unique sounds of the 803rd Century. —Randolph Carter

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Cle MA fun I and L^’ Clem Kadiddlehopper here and Yvette Mimleux, who plays Wells' TIME MACHINE heroine, Weena, who got crowned "Miss Coney Island Frank- furter of 1961. Too many celebrity appearances gave her a back ache, and Clem is saying, "Maybe a little massage might soothe it. " And she says, "Maybe if you rub hard enough, you'll go away!"

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After around quarter of a century on the scene, THE THREE STOOGES are now more popular. If possible, than ever. The madcap trio are seen above in a scene from their recent full length feature film .

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mong the great favorites of Frankenstein followers everywhere (especially those who were dropped on their cranial area while infants) are The Three Stooges. Perhaps the reason for their popularity is the simple philosophy they have always followed. As Larry once said to Moe, in a dark moment: “I can’t see, Moe, I can’t see!” And Moe replied, “Why can’t you see?” To which Larry answered, “Because I've got my eyes closed, fathead! Yuk, yuk, yuk!” and of course, Larry got the customary eye-opener; two of Moe’s fingers! Shown are Moe Howard, Larry Fine, Joe De Rita, and an anonymous Unicorn. i iiiHBIIiljj

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• tipsy woman of the gutter wanders through the foggy night. Suddenly, an ominous presence steps from the murk, asks huskily, “Are you Mary Clarke?" A knife flashes and the poor woman is done in — yet another in a long series of ghastly murders. Inspector O’Neill (Eddie Byrne) is the man in charge of the so-called “Ripper” murders. Sam Lowry, an American detective, arrives in London to assist O'Neill. Meanwhile, back at the ranch-size Mercy Hos- pital For Women, located quite conveniently in the area of the murders, Anne Ford (Betty Mc- Dowall) is appointed the head of various charity cases. She is the ward and protege of Dr. Tranter (John LeMesurier). Tranter disapproves of Anne taking the job. .A little later, while an operation is taking place, complete with a crippled hunchback lab’ assistant played by Endre Muller ( no horror film worth its salt should be without one), Dr. Tranter comes in late, and almost at the same moment yells in the streets outside inform us that another Ripper murder has been committed. The victim is brought over to the hospital for a post-mortem by O'Neill and Lowry. There Lowry meets Anne and is at once her choice of night spots, we began wondering whether Anne should beware of her friend The Ripper, or whether Rip shouldn’t watch out for Anne! At this quaint, rough and tumble place, an- other Ripper murder is racked up. By this time the slaughter gets to be so frequent that we expected old Ripper to set up a corner booth, have the victims line up, and issue numbered tickets as each one took her turn. Anyway, the usual commotion takes place : a case of mistaken identity nearly results in a cruel lynching — the hunchbacked lab assistant is delivering fresh fascinated by her. And is he fascinated by her because she's an experienced nurse? ... Or for working at a hospital and knowing about bodies ? NO! Lowry is fascinated by Anne because she happens to be a beautiful girl . . . Around this point things take an intimate turn. Being that Lowry has come across three thou- sand miles of ocean and is a stranger, Anne wants to show how much she knows about quaint, old respectable London landmarks. She obliges by taking Lowry on a short tour — to a rough East End night club. This naturally shocked a more conservative member of our family. Aunt Hepsibah Frankenstein; for, could this be de- mure, well-bred little Anne! ? In fact, in view of Jack the Knife was quite a cut>up, and the picture they made about him is cutting quite a swathe at the box office, too. He only killed ladies of the night however — it's because he didn't go out during the day !

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Helen Digby, above, meets our Jack. scalpels for another day’s work at the cutator- ium; but the mob isn't sure what kind of work he has in mind. A woman by the name of Kitty Knowles is meanwhile recovering from an operation, and getting back on her feet through good food and rest. Looking over the card files, Anne discovers that Kitty’s real name is Mary Clarke (The' Ripper always asks his victims, “Are you Mary Clarke?”). Anne tells this to her guardian, Dr. Tranter, and the head of the hospital (Ewen Solon). At once she hastens to Kitty's humble lodgings (Kitty is now out of the hospital), but doesn’t find her in. While snooping around her rooms she’s accidentally locked in another room and awaits Kitty’s return. Kitty does — with the Ripper not far behind. Kitty winds up with Jack the Knife’s cutlery in her stomach. Suddenly the monster hear Anne in the other room. Just as he’s about broken down the door, Lowry arrives and startles the (as yet) unidentified killer away. But now there’s little doubt in anyone’s mind as to his identity. (The makers of RIPPER have unquestionably done an exceptional job of keeping the audience guessing up to, and beyond, the movie’s final quarter.) Old hands at the game of horror and gore were not disappointed as the movie repeated one shock and bit of terror after another and came to an horrific finale. The Ripper is now cornered. After flimsy alibis fail to cover up his maniacal trail of blood, he opens up the hospital’s elevator door and climbs down to the bottom of the shaft to hide. Being that the picture up to now has been a nice job of black and white photography, the special effect at this point is most dramatic; for the elevator slowly descends (in it are two orderlies bringing down one of the Ripper’s victims). The poor Ripper desperately attempts to hold up the descending lift. But in vain. What happens next is lots of blood and gore coming up through the elevator’s floor in gushing, oozing, nauseating color. ““ Orson Kane 22

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S03IE BRITISH '^HORRORS” Horrorfilms have become a big business for British film-makers since Hammer Films made Curse of Frankenstein. Frankenstein takes a look at the new horrors from British studios.

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^ ^ atu Good old Boris is peering through his faithful Frankenstein kaliedoscope, viewing over favor- ite scenes from his boyhood. The trouble is that ever so often a commercial creeps in (these spon- sors leave nothing alone any morel). Right now he's catching the Helena Frankenstein Facial Cream bit — the same stuff Chris Lee used when our older brother said a bod word in, THE CURSE OF FRANKENSTEIN. ' aturally, it's good seeing our old friend Boris around at it again. This time it’s all about a future descendant of ours. If we don’t always agree on the way he’s treated, at least everyone should be grateful that he’s back on the drawing board operating on a monster again. The whole trouble here (again) is that one of the black sheep of the Frankenstein family is giving our operation a bad reputation. Ever since childhood he’s been creating trouble al- ready: in fact, he’s such a bad egg that they used to call him Frankeggstein, which was a rotten thing to call even him. NaturaUy, he was afraid that he’d have a smelly reputation instead of one that was more pleasantly aromatic ; so since then he’s been known as Frankincense. I

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Here is the latest episode in the fortunes of our illustrious family. And though it's way off in 1970, this is THE picture they'll be discussing at the Frankenstein Pavillion at the World's Fair in '64 . . . they'll be discussing and scratching their heads and asking: "Here it's '64 already for Frankenstein. So How come FRANKENSTEIN 1970 wos hardly shown even in '59 or '60?" "Well, bock to the old dissecting table. We'll get It right, Ygor, even if It kills os ... " 25

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TAK6 A\E y^Mf^ §Mtr£tu^}^jr From the Land of Cherry Blossoms and Geisha girls, your hard-working editors have brought back these photos. They show the latest things in Japanese horror films. Baron (above) is a product of Toho Pictures. Another scene from that film is at right. Below, we see Japanese TV — or maybe

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a little oriental ectoplosm. It's a scene from Daiei Studios' THE MURDERING MITE. Another scene from that one is in our LITTLE PEOPLE section. Above is another shot from Baran. Seems this monster doesn't like airports. Toho's special ef- fects department is one of the best outside Holly- wood. They also did The MYSTERIANS and THE H‘MAN, as well as RODAN and GODZILLA. The chief technician there admits to being a big ad- mirer of George Pal. Toho's newest film is called NIPPON TANJOH, or BIRTH OF JAPAN. The opening scene shows a Japanese equivalent of Adam and Eve strolling across a rainbow. (Unfortunately, we don't have a still from that film.) Later on some of Japan's top comedians play the parts of Shinto Gods. "It was difficult for the cast to portray the Deity," com- mented the film's director, "as they had never seen any Gods." The picture also included scenes of explosions, and an attack from the sea by a gigantic serpent. The scene at the left is from Daiei's WARNING FROM SPACE. Our thanks to Glenn Ireton of FAR EAST FILM NEWS for these photos, and also to Jacki Camarco of FILM DAILY. ■” Kenneth Beale

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flYSTERIANS

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From out of the vastness of Space they came, to plunge the world into a chaos. Robots — destructive rays — Impenetrable barriers — What can Earth do against such weapons? In a Jopanese resort town, a mysterious phe- nomenon frightens villagers and scientists alike. A section of a hill breaks open and a tremendous monster, sheathed in heavy metal, fifty times man- size, appears. It turns its death-dealing eyes on all the human beings its path, burning them to a crisp. No pistol or rifle shots affect it. Everywhere people fall before the terrifying monster, which wreaks great havoc before it is finally destroyed. Nearby, an enormous dome rises from the ground and a voice from it calls on several scientists by name to enter for negotiations. The invaders with- in it inform the earthmen that they are the sur- vivors of a destroyed planet who wish to settle on earth. Also, because their race is dying out.

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they want to intermarry with earth women. The scientists indignantly refuse. Earth now faces attack. From the dome erupts a stream of flying saucers, sending out the same deadly rays which the monster had used. Our planes cannot stand against them. Meanwhile, the Mysterians kidnap several earth women, and bring them to the dome. One of the United Nations scientists devises a huge reflector, to catch the Mysterians' beams and re- flect them back to their source. The invaders' own weapon is turned against them, and the dome is destroyed. The few saucers left return to their station in space, defeated. Earth is saved.

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Artist Forrest Jay Goombah's depiction of a scene from THE MYSTERIANS. The mad mechanical monster menacing mankind is misunderstood— he is simply trying to encourage slum clearance !

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a "Now, Count, you know there's a deadline on that Transylvania article. . . . Count. . . . Count? Dammit, don't tell me it's 5 am already. . .

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"Of course, if you're looking for an office with 'special' atmosphere, then here's something last used by a comics and humor magazine publisher . 35

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Grueiror hath it that Zach' fcwill be back soon - selah! «i ho is the bride of Zacherley? That's the question New York’s WOR-TV wanted answered, and they asked the viewers of the channel 9 Zacherley Show to help. When TV’s monster of ceremonies appears to introduce those old horror films and deliver short lectures on subjects like making your own mummy, he usually leans on a long pine box. This contains Isabel, his dear wife. Viewers hear her dulcet tones (which have been compared to water gurgling out of a sink), speaking purest Transylvanian. But nary a glimpse do they get of the old girl herself. This situation could not continue, and the solution was a contest. The prize: a night in the

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by Jim Davis coffin with Isabel. Zacherley’s countless fans were asked to draw their impressions of his be- loved spouse, and send the results to the station. Thousands of entries poured or crawled in Drawings, full color paintings, statues, even pictures cut from magazines (which were not eligible) . They ranged from a few inches in size to a monstrous 6-foot affair, which won. The ingenuity of the contestants was astonishing. There were ink-blots, of the headshrinker variety. There were copies of the entry which had won the L’il Abner “Lena, the Hyena” con- test some years before. There were even two entries which glowed in the dark! Sparing no expense or effort, Frankenstein has managed to secure publication rights to some of these pictures. Another Frankenstein first! (As a matter of fact, Zacherley was about to throw these out when our man Ygor arrived.) Some of the best of what Zacherley and his staff turned down is printed here. More is com- ing up next issue. Frankenstein hereby expresses its thanks to WOR-TV, to the staff of the Zacherley show (including P. Christian Steinbrunner) , and most of all to art -lover Zacherley himself, for making this whole ghastly mess possible. 1. Our favorite, by Bonnie Randall, 1205 Edge- wood Ave., Trenton 8, N. J. 2. 2nd choice, by Helen Harrison, 86-14 110th St., Richmond Hill 18, N. Y. Names and addresses of other contestants: 3. Joe Mellerstein, 586 E. 169th St., New York 56, N. Y. 4. Jim Dovis, West Point, N. Y. 5. Anne Canevari, 28 Third St., East Norwalk, Conn. 6. Peter Meyer, somewhere in the U.S. (Address lost.) 7. John Rohde, 1036 Simson St., Bronx 59, N. Y. 8. Gene Cooke, 1703 Collone Ave., Bethlehem, Pa. All this contest stuff has given your editors an idea. Watch for the exciting details in our next issue ! by Anne Canevari by Peter Meyer by John Rohde i by Gene Cooke Eric Zann - 41

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/l^ASTER OF "It is doubtful if there'll ever be another one like him!" . . . So said the great and eminent author-dramatist-critic Alexander Woollcott about the screen's great horror star. by Kenneth Beale ISalHE MONSTER AND ^ HIS MATE In 1935 Karloff was busy playing the horribly scarred criminal Bateman in Universal’s THE RAVEN with Lugosi once again. And also the same year he went into the role that moviegoers long awaited : it was the return to the screen of Dr. Frankenstein’s creation in THE BRIDE OF FRANKENSTEIN (which many consider to be the best of the Universal series). This time there was no doubt in viewers minds who played the monster. Assisting in the cast were Colin Clive repeating as Dr. Frankenstein, 42

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//ORROR: % Valerie Hobson as his wife, and Ernest Thesiger as a new character — the sinister Dr. Pretorius. But the real surprise of the film was— Elsa Lan- chester (Mrs. Charles Laughton) as the monsters newly created mate. In a special prologue, Miss Lanchester is shown as the authoress of the story, Mary Shel- ley. She continues the story of Frankenstein from where it had left off at the end of the first film. We see Dr. Pretorius, coming to see Dr. Frankenstein and persuading him to continue hia experiments. They decide to create a bride for the monster, who still lives. Dr. Pretorius is a strange individual indeed. He keeps tiny people in bottles: and he tries to teach the monster to speak .... with some success. (But in the third film the monster is as dumb a.s at the start.) The monster is captured, and imprisoned in the village jail. But it escapes. It also meets an old, blind hermit who treats it like an equal, not being able to see its ugly form. Frankenstein refuses to go on with his experi- ments, and the monster steals the Doctor’s wife, Elizabeth. Forced to continue, he creates a mate who screams and shrieks and shrinks away from the “bridegroom.” In rage, the monster throws the inevitable switch, and the laboratory blows sky-high.

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MORE HORRORS In THE RAVEN, Bela Lugosi was the real star as Dr. VoUin. A famous surgeon, he was obsessed by torture and death, and admired the works of Edgar Allan Poe. (Like THE BLACK CAT, this picture was based on ideas in stories by Poe.) When Karloff, an escaped murderer, comes to him to have his face changed, he sees an opportunity. Operating, Vollin mutilates Bate- man (Karloff) horribly, then forces him to help in his mad scheme for revenge against a girl who wouldn't marry him. In return, he promises to give Bateman a new face. But Karloff defies the order of the madman, and it is Dr. Vollin instead who gets horribly killed. He is trapped in his own device, a room whose walls slowly close in to crush the luckless victim. Boris dies, too — shot by the doctor. THE INVISIBLE RAY, in 1936, marked one of Karloff’s oddest roles — a radio-active man, killing with his mere touch. This Universal pro- duction, a clever mixture of science fiction and horror, again co-starred Lugosi. This time he played a good character. Dr. Benet, while Karloff was the evil one — Dr. Janos Rukh. From a strange opening, in Rukh’s laboratory and observatory, the locale moved to Africa in search of a strange element (“Radium X") from outer space. Its fall to earth in a meteor is seen in an amazing device of Dr. Rukh’s — a kind of television that seeks into the past. Rukh finds the element, but becomes con- taminated. He is now walking death ; he glows in the dark, and anything he touches dies. Dr. Benet manages to cure him, and they return to Paris. But Rukh, driven insane by contact with the element, thinks his discovery has been stolen, and determines to take revenge. He refuses to take the antidote, and as his terrible powers return he sets out to kill all the members of the African expedition. But he must take the anti- dote again at intervals, otherwise the radiation will get out of control. When he is about to complete his plans, his aged mother (Violet Kemble Cooper) strikes the vial of antidoe from his hands, destroying it. “It’s better this way,” cries Rukh, and leaps from a roof. But the radia- tion is too strong, and in a bright flare his body is turned to ashes before it touches the ground. FROM THE GRAVE TO THE TOWER Also that year, he went to England again to star in two more horror tales: JUGGERNAUT and THE MAN WHO LIVED AGAIN. In both he played doctors, slightly mad as usual. JUGGERNAUT'S Dr. Sartorius poisoned himself when his crimes were discovered, then delivered a lecture on his dying symptoms. Dr. Laurience, in THE MAN WHO LIVED AGAIN, swapped souls with his rival in the affections of a girl.

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"The Man They Could Not Hang" Back ia America, when Warner Brothers wanted to make THE WALKING DEAD, they knew whom to use in the leading role. They brought him back from the dead through science, and he proceeded to revenge himself on the men who put him in the grave — by scaring them to death! THE INVISIBLE MENACE . . . THE BLACK ROOM . . . CHARLIE CHAN AT THE OPERA . . . these are some of the titles of other Karloffian epics that come floating up from the gray mist of the past. When 1938 audiences saw the opening of TOWER OF LONDON, they were treated to the sight of a bald Karloff, grinning evily as he sharpened a huge axe. He was playing Mord, the club-footed executioner and torturer of the Tower. This Universal production (also starring Basil Rathbone) was an historical drama with horrific overtones, telling the story of the evil King Richard III of England. Modern audiences have seen a version of this tale, from Shake- speare’s play, with Laurence Olivier. Karloff and Rathbone co-starred in another film that year, with the same director, Rowland V. Lee. This was SON OF FRANKENSTEIN, the.most elaborate of the series. It was the last time Boris ever played the monster, though he reappeared in two subsequent Frankenstein pic- tures. Besides the two stars, there was Bela Lugosi to grin fiendishly as the broken-necked Ygor, a character new to the series. And Lionel Atwill as Inspector Krogh, with a false arm as a memento of his last encounter with the monster. Baron Wolf von Frankstein comes with his wife and young son to live at the ancestral castle. It has been abandoned for many years, ever since his father’s disastrous attempts to create life. There he meets Ygor, who had been hanged for grave robbing, but continued to live — with a broken neck. Ygor reveals the amazing fact that the Monster still lives, but is unconscious. Von Frankenstein (Rathbone) determines to bring it back to life, and complete his father’s unsuccess- ful experiment. Aided by Ygor, he does. But Ygor begins using the monster to murder the members of the jury that convicted him years before. Learning of this, von Frankenstein confronts him, they struggle, and Ygor is killed. Finding the body, the monster kidnaps von Frankenstein’s son and is about to kill him, when the Baron arrives and tumbles him into a pit of boiling sulphur. All is serene — until the next time. CAN’T HANG HIM As THE MAN THEY COULD NOT HANG, Boris returned from the grave once more. This was the first of a series of pictures with similar 46

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In BEDLAM, made the following year for the same studio, he was back in his usual fiendish form. As Master Sims, he conspires to have a young woman put in the notorious asylum, where he reigns supreme, terrorizing the helpless patients. In an eerie climax, they seize him and hold a “trial.” He meets death at the hands of one of them. Horror pictures were now on the decline, and Karloff played some parts in more routine films, including UNCONQUERED. In 1949 he played opposite Abbott and Costello. V Karloff as Mr. Hyde Chaney) to life by thawing him out, but the Monster will require the use of a special ap- paratus to revive him. They proceed to Nie- mann’s old laboratory, along with a gypsy girl they have befriended (Elena Verdugo). The doctor continues with his plans, as the Wolf Man kills one of the people of the nearby village. The villagers form a posse to hunt for the werewolf. Meanwhile the Wolf Man and the gypsy girl have fallen in love. She kills him with a silver bullet as he leaps at her, ending his torment, then dies herself. Doctor Niemann re- vives the Monster, but the villagers see the lights in his reopened laboratory and go to investigate. The Monster picks up Doctor Niemann and drags him away. As the villagers follow, both sink into a swamp and do not rise. "House of Frankenstein" In this one, Universal’s ABBOTT AND COS- TELLO MEET THE KILLER, Karloff was listed as a star, but only had a small part. The two comics were investigating a series of murders, and met Karloff in the course of their inquiries. He played Swami Talpur, a fake fortune teller from Brooklyn. There was the expected mixture of melodrama and high- jinks. Two years later Karloff returned to the fold with a horror picture, THE STRANGE DOOR. This was based, like THE BODY SNATCHER, on a Robert Louis Stevenson story. Charles Laughton co-starred in this Universal produc- tion. along with Sally Forrest. THE BLACK CASTLE, made in ’52, featured Richard ( Robin Hood ) Greene, as well as Karloff. In 1953 Mr. K. became the 7th actor in cinema history to portray a famous dual role in ABBOTT AND COSTELLO MEET DR. JEKYLL AND MR. HYDE. Based on Steven- son's horror classic, this was the first comedy BORIS MEETS BUD AND LOU After HOUSE OF FRANKENSTEIN. Karloff went back to RKO to do THE ISLE OF THE DEAD for Lewton. He played a comparatively straight part, as a military man, marooned on an island by a deadly plague. The horror supplied by a dead woman, who wasn’t really dead! The woman slowly “comes to life” in a spellbinding sequence. "Black Friday

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version ever made, Secret doors, weird serums, and chases up the sides of buildings were in- volved. Not only did Karloff turn into a monster, but so did Costello. The chubby comic became a huge mouse as well as a creature with a con- tagious bite. . . . AND MOST RECENTLY When 1956 arrived, Karloff began work on the United Artists release, VOODOO ISLAND. In this he appears as an investigator of the strange and unusual. Seeking to learn the reason why several men have become silent zombie-like crea- tures, he soon became involved with some man- eating plants and a lost tribe. Made in England and released here by MGM. Boris did THE HAUNTED STRANGLER, a period piece set around the turn of the century. Boris investigates a series of murders, only to find he had committed them himself when the Hyde-like side of his personality emerged. His last picture was FRANKENSTEIN 1970, made by Allied Artists. A continuation of the series up to the present, it has Karloff as a Frankenstein descendant (see story elsewhere in this issue) . Although a recent series of strange and un- usual stories for TV, called THE VEIL, was in- explicably cancelled before it ever appeared, TV producer-director Hubbell Robinson has set Boris as host of the new hour-long mystery series THRILLER. Production on it began in late Feb. ’60 for NBC-TV. The first segment will be THE TWISTED IMAGE with John Cassa- vetes. Well past 70, the fabulous Mr. K. has shown phenomenal, indeed near mythical vitality and youthfulness, having just completed (as of this writing) a 25,000 mile 'round-the-world tour, plus a TV adaption of Steven's TREASURE ISLAND shortly after his return to the U.S. (With even more horror offerings ahead for him! ) . May the Master of Horror continue to reign supreme, as long as audiences can still shriek and monsters walk. Additional research on this article by Bert Gray^ "May I kiss your shapely hand, Madame ?" says Karloff, below, to TV hostess Rosemary Clooney,

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^ • « iv. ^ ; / ■ . ■), . ^ ' s •* «•; * ■ ^ y ' w m^R -■ a by Charles Dexter Ward

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E4^gar>ffllaii Poe’s THE PIT JINDTHE A Critical Commentary At its current pace, American-International is threatening to steal much of Hammer Films’ thunder and glory. THE PIT could have been among the greatest of all time; A-I's movies do well in most depart- ments: top special effects, thrilling musical scores, superb sound-trac- king effects, excellent color and camera techniques. . .but for one con- stant weakness: the supporting cast. This was evident in HOUSE OF USHER (here the young "hero" resembled more of a matinee rock 'n growl idol). At times it was sheer punishment in THE PIT! Of course, thank God for Vincent Price, the crown prince of horror! Also Barbara Steele was outstanding from every dramatic and physical standpoint, what little was actually seen of her. But there had to be John Kerr who, at least, could have cooperated if he had only pretended he didn't hate his job, or else tried not to look as if he was temporarily sitting in while visiting the studios. Since his is the largest part next to Price, the effect is appalling. Fortunately, Vince's priceless personality do- minates enough of the production so that defects like Kerr, Luana An- ders and Anthony Carbone (the trouble being miscasting with the last two) are quite easily forgotten (and, oh, those great coffin sequences I). The original tale actually being too brieffor full movie treatment, THE PIT is mostly Richard (I Am Legend) Matheson's spookdracular concoction of other Poe themes neatly wrapped together: a pinch of THE BLACK CAT, at times like a sequel to USHER; and by adding a lot of Matheson and shaking well, the blend turns into nearly 90 minutes of chills and Grande Guignol, and. . .an horrific climax rating among the greatest that the Frankenstein staff has ever previewed ! 52

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A guy named William Castle has been getting horror fans to come and see his films at an amaz- ing rate. First it was Macabre, then it was House on Haunted Hill, and now The Tingler. In this film, he introduces something brand new in horror pictures — Percepto. This is a special process that brings the horror right down into the theater among the audience. (It’s the horror movies’ answer to smell-o-vision.) He also has some of the reddest blood you’ve ever seen. Nothing odd about that, you say? In a black and white film? The Tingler stars Vincent Price and Judith Evelyn. Vincent is a scientist who doesn’t know the meaning of fear. He’s not brave, he just

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doesn’t know the mean — Anyway, he’s experi- menting to find out what makes people scared. (Besides horror pictures.) Pretty soon he finds out. It’s The Tingler that does it. Apparently it scared the photographer, because we couldn’t find a picture of it. You’ll have to admit though, 1 that the one’s we’ve got are pretty good. r That's Philip Coolidge with the do-it-yourself hor- ror kit, below. He looks like he's having fun.

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s r Nils Poppe plays a simple juggler. At a wayside inn, his life is threatened. Death spreads his cloak . He waits for his victims, with all the time there is

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SEAL From Sweden comes the strange talent of Ingmar Bergman, pouring forth across the dry deserts of American screens like cool water. His SEVENTH SEAL is an eerie, mysterious drama, concerned with life and death, witchcraft and sin, good and evil. The central figure is a Knight, returned from the Crusades, who plays a game of chess with — Death! The terrible black robed figure is defeated for a time, but he cannot be avoided. He eventually triumphs. Bergman’s films have triumphed, too by winning prizes all over the world. Death triumphantly leads his victims in a grim dance. Death (Bengt Ekerot ) lurks everywhere. Even in the confession booth of a church. Max von Sydow tries to find out the answers to his questions/ but Death cannot — or will not — tell him. r

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This picture raises the question: Can a country giri and an Okefenokee boy morry and make a living raising alligators? At right we see Albert Gator (Richard Crane) telling the doctor that rais- ing alligators has begun to effect him. Or maybe it's that hot sun. He figures, though, that he can always make out in the luggage business. In the touching scene below. Alley Oop gator tells Sammy Nole, his girl (Beverly Garland) that he loves her. He doesn't reveal the dark secret lurking in his past! The skeleton in his closet: that his name's not Alley Oop gator at all, but Lon Chaney, Junior. He doesn't want her to know about the Junior part.

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Willis O'Brien, who brought K/ng Kong to life, mode the giant critter shown above. "Look Ma — no cavities," it might almost be saying. (That is, it might if you have the kind of imagination we do.) That's London behind it. Better take a good look. It won't be there long.

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George Coulouris is the doctor shown here, as mad as they come. Quite a comedown from playing in films like Citizen Kane and Outcast of the Islands, but good old George is taking it like a real trouper. He's a bit irked here because his pet woman-eat- ing plant has been destroyed. Apparently it wasn't insured. The cannibal plant is having lunch here. It's favor- ite, too: fresh brunette. The girl (Joy Webster) isn't struggling too much because she's under a mys- terious hypnotic spell. Also because she's only acting a small part.

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Produced by WALT DISNEY LITTLE PEOPLE ■ALT OISUFt mOOOCTIONS King Brian some), and we were very surprised when they didn’t get nominated for an Academy Award. (Not that Disney needs another one!) This picture is also closer to a horror film than anything the Disney studios have yet done. Small wonder, with Robert Stevenson directing. He was the man in back of the camera for Kar- loff’s The Man Who Lived Again. There are not only the little people and their eerie underworld kingdom, but a mountain that splits open, a Pookah or spirit horse, the Costa Bower (Death Coach) and its headless driver. And a banshee, the likes of which we’ve never seen equalled! We hope Disney makes more pictures like this! For our money, this film was one of the best we’ve seen in a long time. Its story told of lov- able old Darby (Albert Sharpe) and his belief in the Little People, the Leprechauns. They may look cute and lovable, but they’re pretty danger- ous for mortals to go fooling around with — as Darby finds out. He’s after the pot of gold belonging to Brian (Jimmy O’Dea) , the King of the Leprechauns. And he nearly gets it, too, as well as three wishes. But King Brian is a little too clever, and a tragedy nearly results, before everything finally gets straightened out. The trick effects in this film are the finest Franken- stein’s editors have ever seen (which is going - V.,. ' Jimla

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-A. dread curse hovers over the last remaining heir of an aristocratic family. The heir is Sir Henry Baskervilie (played by Mummyite Christ- opher Lee). Also in the cast: Peter Cushing as the great Sherlock Holmes, and Andre Morell as the faithful Watson. Dr. Mortimer, lifelong friend of the Basker- ville clan, goes to Holmes asking him to save Henry Baskervilie from seemingly certain doom. Reason for the curse: it appears that an an- cestor of 01 repute. Sir Hugo Baskervilie (David Oxley) , started it all by his “bad habits” : 1) wild parties; 2) roasting the family servant (Dave Birks) over the fireplace; 3) killing the servant's daughter. Seems about this point a great hulking hound chewed up his throat. Unfortunately, Hugo didn’t survive long afterwards. (Out of respect for his memory, they now award a “Hugo” each year at Monster Fan Conventions.) Ever since Hugo’s time some three centuries back, one Baskervilie after another gets a wooden suit too early in life, sometimes peace- fully, sometimes horribly. Naturally, Holmes solves the case in due time. It turns out that there’s no “curse;” it’s really a down-and-out neighbor (John LeMesurier) and his daughter (Maria Landi) who are behind it all. Actually they are a forgotten branch of the Baskervilie family who hope to take over the clan name and fortune. The story is set against weird, misty moors studded with ominous crags, caves and lost mines (not forgetting a few monsters, like a giant spider, and the “hound”). But — we were angry enough to*claw up the theatre’s seats! WHY weren’t old Baron Frankenstein and our Monster around ? 62

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SENOINg FOR YOUR MeMBERSHiP card Did YOU know that May is Nationai Be*Kind>to- Monsters Month? YeS/ indeed; by speeiai procioma- f tion of Count Dracuia himseif, this is the time the N/ FSPCM sets aside to remember our iittie (7) fanged friends. So, have YOU heiped an oid monster cross the street reeentiy? Better stiii, have YOU joined the great new FRANKENSTEiN SOCIETY FOR THE PREVENTiON OF CRUELTY TO MONSTERS? Weil, why not? Think of all the benefits you get, like: (1) a fm. Membership Card — (2) like Official Stationery — (3) like the speciol Club Magazine — (4) like the Secret Frankenstein Code . . . not forgetting pro- ■ I tection. So get wise. Smarten up. Fall in line, rf ) buddy, if you know what's good for you, and fill in the coupon on this page. Enclose $1. 00 and send to: J FRANKENSTEIN SOCIETY P Boz 43, Hudson Heights Station 5 North Bergen, New Jersey. Dear Baron Frankenstein: I have seen the light! I'm going to stop kick- ing monsters around, and turn over a new grave- stone. I'm going to join the FRANKENSTEIN SOCIETY FOR THE PREVENTION OF CRUELTY TO MONSTERS today ! Here's my dollar. So like, send me the membership card and stuff! r~ C' 1'"'' W C %

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THE INVISIBLE MAN That's not Claude Rains over there, on the left. It's not even Vincent Price. It's the newest Invisible Man, from England. This time he doesn't kill anybody, or go mad, or even snarl a little. This time he uses his power of invisibility to fight crime and injustice and all like that. A change for the worse, we calls it. Shortly after this picture was taken, not only the Invisible Man but his whole program became invisible. It was replaced by a bunch of cowboys. This is progress? MEN INTO SPACE Even though there aren't any monsters in it, this is a pretty good series. It shows what happens in outer space, and proves that though Russia may have the lead in Sputniks, the good old U.S.A. is still ahead in science fiction! Some of Hollywood's top special-effects men are responsible for all the trick photography that makes it look like William Lundigan and his pals are floating in space or wolking around on the moon. Of course, if they'd waited a few years, they could have filmed it all for real ! The show is really paying off. It is poying off in big ratings. It is paying off in painless scientific education for the tv viewers. But mostly, it is paying off in money, from the cigarette manu- facturers. Boy, do they pay off for those ads with Bill Lundigan on the back of covers of magazines!

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^e^bIeaS'— by Gregory Arkadin THE TWILIGHT ZONE No, that isn't the area most detergents don't reach. It's a new TV show, devoted to the strange and supernatural. "There is a fifth dimension beyond that which is known to man. It is a dimension as vast as space, and as timeless as infinity. It is the middle ground between light and shadow . . . between science and superstition; between the pit of man's fears and the sunlight of his knowledge. This is the dimension of imagination. It is an area that might be called the Twilight Zone." So says writer-narrator Rod Serling, anyway. For most of the programs feature fantasy or science fiction with fright appeal. Of course, sponsors and networks are a bit leery about being associated with fright, terror, and monsters. Which annoys Baron V. Frankenstein, your lovable old editor. He says that if they don't show a few creatures pretty soon, he'll start circulating petitions. But he watches the show anyway. And he recommends it to all you Frankenstein readers. 65 w

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THPUSHT THISV/AS Z^CtiUV MAfi-^riNE OF dipn't YC^/ weix^wsVc FOUND mrmoNEl (fuTAseoop AS -V -E^^oMEjOFcovese/) ^€H He^ y Feeling left out for having fewer foogs than your buddies? Rejected for not being the ugliest in a shroud? And does everyone else in the crowd haveJOURNALOFFRANKENSTEINexcept you? Cheer up I YOU can beceme one of The Fang Gang, and make somebody else feel depressed, by getting m copy of this . rare rCoffector's; Issue. Do you want to go on missing great features like SEVENTH VOYAGE OF SINBAD, or THE RETURN OF THE SON OF THE BRIDE OF FRANKENSTEIN, the special ZA- CHERIEY profile, and the first Part of THE BORIS KARLOFF BfOGRARHY? You bet you DON'T I So why let a mere $1 stand between you and unlimited joys? Fill in the coupon NOW and start of a mon- strous career the right wayl I can't stand the suspense any longer! I must see FRANKENSTEIN No. 1! Here's my $1. So send it already I NAME ADDRESS CITY ZONE STATE Send like quick, man, to: Back Issue Laboratory, GOTHIC CASTLE Box 43, Hudson Heights North Bergen, New Jersey. 66 Why take chances? Why go to the newsstand and mingle with the common herd? Subscribe new to THE Castle of Frankenstein and have your copy flown to you by special carrier bat I Remem- ber, each and every issue carries the Haunted Housekeeping Seal of Approval, and is personally guaranteed by Victor Frankenstein III to be suc- culent, good for your health, and enriched with , vitamins G, H, O. U and L. No other magazine can make that statement (and no one dares !) . . . Take advantage of our ridiculously low prices: 7 issues of fabulous doings for $2.00, 1 1 for (believe it or not) $3.00. So put your pawmork on the coupon at the bottom today I (Better put your name, cemetery lot number, and address too.) ; 1 want to be a monster of distinction. I want to I get my issues in an envelope instead of off on old, overcrowded newsstand. I'm hip I Send me a sub- scription. I enclose ( ) $2.00 for 7 issues ( ) $3.00 for 1 1 issues Name ADDRESS CITY ZONE STATE Make out checks or money orders to GOTHIC CASTLE And mail the monster money to: Box 43, Hudson Heights North Bergen, New Jersey

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AND HERE'S HOW YOU CAN GET IN ON THIS Monsterrific OFFER: Mail in a snapshot of yourself (either as you normally appear or in your usual monster guise) along with a letter telling us in as m a ny words as you like what you think of CASTLE OF FRANKENSTEIN and what 7°“ would like to see in it in future issues, and anything else you wish to say. MOST IMPOR IAN i : give us a report on recent and past fantasy-horror movies. Become a movie critic 1 • • 07 the letters which the editors consider the best of those mailed in, 100 winners will be selected who will receive prizes totalling over $400. 00 dollars in value. ONE HUNDRED WINNERS will get prizes in the following categories: For the BEST TEN LETTERS, each winner will receive: 1) A Monster Critic's Diploma from Frankenstein University, making you a recognized authority of the genre. 2) $10. 00 - this should buy you tenor more movie tickets to your local theatre. 3) Your write-up will appear^ a pro ' type column in the next issue of CASTLE OF FRANKENSTEIN. 4 ) You will receive a one-way ticket to Bourgo Pass, Transylvania. 5) A ten issue subscription to this magazine. . , t , The Next Best 25 winners will receive: 1) $2.00. 2) Appear in the Junior Critics Division Column. 3) A 7 issue subscription. 65 Runners-Up will all get: 1)A 7 issue subscription. 2) Have their names and addresses listed as Associate Monster Critics. Deadline on all entries is December 5, 1961. So send off that photo and ^°'Fran£n3tein! B°iS 43. Hudson Heights Station. North Bergen. New Jersey.

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who's EX^ it’s YOU! AND THE REASON FOR YOUR PRESENT THRILLING AND EXCITING CONDITION IS BECAUSE you are holding in your hot little claws The First Issue of CASTLE OF FRANKENSTEIN 1 I ( F o r various esthetic and cultural reasons, of course. ) Aside of a horrifyingly monstrous Contest opportunity to ONE HUNDRED loyal followers of Frankenstein, TAKE IN BELOW A MONSTER'S EYE VIEW OF THE CONTENTS. . .or: what's in store for you if you can pay 35^ in non-Transylvanian currency. . . . THE COMPLETE MUMMY The great Bard might have appropriately written: “There are more Mummies in Heaven and on earth than are dreamt of in your ghoulo* sophy, Horroratio!” THE TIME MACHINE Advance pics and i^fo’ on Geo. Pal's new kad- didlehopper science-hurror movie. HAVE ROCKET, WILL TRAVEL The good Baron never quite got over the Three Stooges coming in our territory. JACK THE RIPPER Jack the Knife is unanimously elected as Number One Cut-Up Artist forl961. ZACHERLEY'S CHANNEL-9 CONTEST About the last adventures and activities of TV’s Pie-eyed Piper of horror. THE BORIS KARLOFF STORY The only complete and authentic biography ever printed on Mr. Horror Movies himself. HORROR FILM CAVALCADE; Lining up RETURN OF THE FLY, THE TINGLER, ALLIGATOR PEOPLE, SOME BRITISH HORRORS, WOMAN EATER, DARBY O'GILL, 30-FOOT BRIDE, THE GIANT BEHEMOTH. TEEVEE JEEBIES (Terror Vision) The most recent channel chillers. FRANKENSTEIN, 1970 Six years earlier and he'd have made the Frank- enstein Pavillion at the World’s Fair! THE SEVENTH SEAL Out of Sweden comes Bergman with a new kind of Clasaical horror. "GREETINGS, HONORABLE MONSTER" At last, Japan successfully invades America — with her own Rising Sun Monsters; ah, so. MONSTERS AND OTHERS The greatest aggregation of cartooned horror since Addams and Evil.