The Curse of the Aztec Mummy was first released (in Mexico) on 11 December 1957. It is the second of the Aztec Mummy trilogy. And it is also the most loopy. As such, it is arguably the best of the three — although you can definitely argue the first is better.

Let’s get straight on the series. Cinematografica Calderon SA released all three films over a period of 9 months. For a long time, people were confused about these releases. For example, Michael Weldon thought the second was third. So here are the release dates (in Mexico):

• La Momia Azteca (The Aztec Mummy) — 13 November 1957
• La Maldición de la Momia Azteca (The Curse of the Aztec Mummy) — 11 December 1957
• La Momia Azteca Contra el Robot Humano (The Robot vs the Aztec Mummy) — 17 July 1958

Producer Guillermo Calderon shot the three films back-to-back. It’s clear that he worried that this might create three very similar films. So he made the first film standard horror, the second film a Luchador (kind of setting up El Santo’s film career), and the final film science fiction.

But I find the inclusion of the masked superhero The Angel very strange. In the second film, Dr Almada’s soft-spoken assistant Pinacate is The Angel. And then, in the third film, he’s just Pinacate again. What’s with that?! It’s very disappointing to me. The Angel is my favorite thing in all the films!

Regardless, the films are more like a serial than anything. This includes heavy reuse of material from the previous film(s).

The Aztec Mummy films are a bit of a problem for English-speaking audiences. This is because Jerry Warren combined the original film with new material he shot to create Attack of the Mayan Mummy. He did the same thing with the later La Marca del Muerto. As far as I know, there is no English-language version of The Aztec Mummy. I’ve only watched it in Spanish.

K Gordon Murray is responsible for the English-language versions of the other two films. But he did not make major edits or add new material. And this is why they are better known to English-speaking audiences than the original.

Let’s celebrate this day by watching The Curse of the Aztec Mummy!

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The Curse of the Aztec Mummy poster via Wikipedia under Fair Use.

Anne Gwynne was born on 10 December 1918.

She was the grandmother of Chris Pine. And so she was the mother-in-law of Robert Pine. I mention this only to point out that Hollywood is a meritocracy without a hint of nepotism!

Anne Gwynne is one of the original scream queens. But it isn’t like today. The great Brinke Stevens has starred in over a hundred horror films. Hell, she’s been in at least 5 horror films this year! The classic scream queens like Gwynne and Fay Wray starred in just a handful. But Norma Desmond had it right. They were big. “It’s the pictures that got small.”

Gwynne doesn’t look like she should be a scream queen. She’s way better looking than necessary! And during World War II, she was a popular pin-up model.

But her reputation is based mostly on her roles in early 1940s Universal horror films:

• Black Friday (1940)
• The Black Cat (1941)
• The Strange Case of Doctor Rx (1942)
• Weird Woman (1944)
• House of Frankenstein (1944)

Psychotronic fans may remember her in the Universal serial Flash Gordon Conquers the Universe (1940). She plays the evil Lady Sonja.

Outside of these five films, Gwynne performed in little horror. Dick Tracy Meets Gruesome (1947) is often mentioned but it isn’t really horror despite it starring Boris Karloff.. Her only true horror film after House of Frankenstein was Teenage Monster (1957). She also happens to be the lead in it. She plays a mother who tries to protect her son after he turns into a beast from a meteorite. She does scream in it!

So let’s celebrate Anne Gwynne’s birthday by watching this surprisingly good horror cheapy!

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Anne Gwynne via Wikimedia. It is in the public domain.

Margaret Hamilton was born on 9 December 1902. She is best known for… Okay, you know!

I just learned that Hamilton was a school teacher before she became an actor. That fits so well! And she advocated for public schools and animal rights her whole life.

She married an abusive man and that marriage broke up after 7 years. She never married again, probably because she realized she was a lesbian. But like most LGBT actors of that time, she didn’t discuss it publicly. It was well known in the industry, however.

Hamilton worked a lot — starting in the theater and continuing late in her life. She made her screen debut in an uncredited role in the Loretta Young vehicle Zoo in Budapest.

From there, she worked as a character actor. She appeared in multiple films every year from 1933 through 1943. And she continued much the same through 1950. At that point, she transitioned to TV. The only feature films she made were 13 Ghosts, Paradise Alley, The Daydreamer, Rosie!, Angel in My Pocket, Brewster McCloud, and The Anderson Tapes.

She played Granny Frump in three episodes of The Addams Family. And there is my favorite. She plays an academic in The Night Strangler where she says, “If it were possible, I’d be sitting here an 80-year-old sexpot!” She was actually only 71 at the time. But she was sexy!

Margaret Hamilton is, of course, the Wicked Witch of the West in The Wizard of Oz. Despite how iconic the role was, it didn’t define her career. In fact, she played against it. She often played roles where she appeared to be bad but turned out to be good.

If you watch nothing else, check her out on Mister Rogers’ Neighborhood. She was there to show children that acting was just pretend and that she was actually a very nice lady, even when playing the witch.

And now, let us enjoy The Wizard of Oz.

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Margaret Hamilton via Wikimedia. It is in the public domain.

Richard Fleischer was born on 8 December 1916 in Brooklyn, New York. He was the son of animator Max Fleischer, who invented the rotoscope and created Betty Boop. I could go on and on about him, but it isn’t his birthday. Father and son are both icons of psychotronic film.

Why is Richard a psychotronic icon? He certainly wasn’t as important as his father. Instead, he was a studio director. He is most notable in this regard because he was highly successful for decades. He directed a lot of genre films, which may explain his success.

Fleischer served a short time in the Army Pictorial Service during World War II. After leaving, he went to work for RKO, where he worked mostly on documentaries. This eventually led to Design for Death. The Academy gave the film the Best Documentary (Feature) award in 1948.

But Fleischer directed his first feature in 1946. Child of Divorce was a drama starring Sharyn Moffett, which did very well at the box office. From there, he directed films of various genres. Early ones included the musical Make Mine Laughs and many film noir like his first, Bodyguard.

In 1954, Fleischer made the big time when Walt Disney hired him to direct 20,000 Leagues Under the Sea. It is probably his best-known film. I remember watching it in the theater as a child, despite its original release date being a decade before my birth. I was thrilled by the scene where Kirk Douglas eats with a knife.

After this, Richard Fleischer worked frequently with 20th Century Fox. In the early 1960s, he directed two films in Europe for Darryl Zanuck. On his return to Hollywood, Richard Zanuck (now head of Fox) gave him Fantastic Voyage. He followed it with Doctor Dolittle, The Boston Strangler, and Tora! Tora! Tora!

During the 1970s, Fleischer made a number of other notable psychotronic films: See No Evil, The Last Run, 10 Rillington Place, and Soylent Green. In the 1980s, he made a number of big-budget films: The Jazz Singer, Conan the Destroyer, and Red Sonja.

Let’s celebrate Richard Fleischer’s birthday by watching 20,000 Leagues Under the Sea. Like most of his work, it holds up remarkably well.

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Richard Fleischer via Wikimedia. It is in the public domain.

Leigh Brackett was born on 7 December 1915.

If you’ve heard of her, it is probably because she co-wrote The Empire Strikes Back. But she did so much more.

She started writing for science fiction magazines in 1940. She went on to write quite a lot of crime and western pulp fiction. And starting in 1944, she wrote novels. She was best known for interplanetary romances. This is how she earned the moniker as The Queen of Space Opera.

Her first novel, No Good from a Corpse, provided her an entry into Hollywood. Apparently, Howard Hawks loved the novel and reached out. He thought she was a man and often noted that she wrote like a man. (Whatever that means!)

She co-wrote five films for Hawks: The Big Sleep, Rio Bravo, Hatari!, El Dorado, and Rio Lobo. Additionally, she wrote screenplays for The Unholy Four (directed by Hammer regular Terence Fisher) and Crime Doctor’s Man Hunt (directed by William Castle during his studio period). And she wrote some TV, including two episodes of The Alfred Hitchcock Hour.

George Lucas hired Brackett to write the first draft of The Empire Strikes Back based on his story. Fans have spent the last 4+ decades arguing that Lucas hated her script and threw it all out. This is almost certainly not the case. It rather shows a complete lack of understanding of how collaborative art works. This comes from the natural but unfortunate tendency to want to give all the credit to a single man.

She died of cancer shortly after finishing her draft of the screenplay. She was primarily a science fiction writer. But this was the first time she wrote a science fiction screenplay. So it was a fitting end to her career.

So let’s celebrate Leigh Brackett’s birthday by watching Crime Doctor’s Man Hunt. It’s one of the few films that she gets sole screenwriting credit. And it’s a good opportunity to see what William Castle (who directed 4 of the 10 Crime Doctor films) was doing before he became the wacky producer we all know and love.

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Leigh Brackett via Picryl. It is in the public domain.

NBC showed Rudolph the Red-Nosed Reindeer for the first time on 6 December 1964. Interestingly, CBS took over the show in 1972. It only came back to NBC last year.

It is my favorite holiday show. I like it even better than How the Grinch Stole Christmas! But it is a strong second.

It was the first Christmas special from Rankin/Bass Animated Entertainment. They did a lot of great stuff, but they never matched Rudolph. Romeo Muller wrote it. He wrote just about everything the company ever did — including the two Tolkien adaptations The Hobbit and Return of the King. It also features a great cast — mostly from Canada. This goes along with the Japanese animation. It is the most American product ever, if you ask me!

But I find it fascinating that thematically, it’s so… woke. Imagine it was released today. The usual suspects would scream about how it was Hollywood trying to propagandize our children. I mean, it teaches acceptance of differences!

Hermey is clearly gay. Even worse, he isn’t doing what his manager tells him to. Rudolph is hardly alpha, which is bad enough. But he turns out to be heroic because he’s different. WTF?! Even alpha Yukon Cornelius is silly and, even worse, accepting of people who weren’t like him. And don’t get me started on the Island of Misfit Toys!

But these are all reasons I think all children should watch Rudolph the Red-Nosed Reindeer. We used to all believe this stuff was good. Today? We are fast approaching the day when people start calling for an end to kindergarten. Better to get those lazy kids working in the coal mines!

But until then, we can all enjoy this incredibly sweet show that teaches us all how to be better people. Merry Christmas!

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Rudolph the Red-Nosed Reindeer (1964) title card via Wikimedia. It is in the public domain.

Angry Mule Films released Killer Piñata on 5 December 2015. That’s 10 years ago that it premiered somewhere in Logan Square in Chicago, Illinois — at The Logan Theatre. It doesn’t seem like it got a proper theatrical release, which isn’t unusual for crowd-funded films.

It is a remarkable film. Much of the humor is laugh-out-loud funny — even watching it alone.

Dark Alley SPFX (Alex Falk) created the excellent special effects. He claims that their driving force is “to create practical effects to eliminate overuse of CGI.” And the cast is quite good despite being comprised mostly of amateurs. The only veteran is Joette Waters in a hilarious but small role.

The writing stands out. Most low-budget films suffer from weak scripts. But this film would have worked because of it even with a weaker production. But the production is not weak at all. Clearly, the producers didn’t have a ton of money. But the film is shot very carefully with a number of techniques that we’ve seen in slashers from the past.

Killer Piñata is part of the Killer Doll subgenre of horror. If you would like to see what can be done with a larger budget, check out Benny Loves You. But even though it has far more blood, KP actually features more realistic gore.

I try to stay positive about films. But the Killer Doll subgenre has produced a lot of clunkers. Filmmakers can use the absurdity of their concept to sleepwalk through the script or even the entire production. But the concept only gets you about ten minutes of screen time. Producers need to bring more to the table.

And the producers of Killer Piñata did that. The principals seem to be Stephen Tramontana (director, co-writer, co-editor), Jennifer Kunkel (producer), Megan MacManus (co-writer), and Paul Summers (cinematographer, co-editor). Vincent Alcarese (credited as Vin Alcerese) created the animated backstory.

I can’t embed the film. But you can watch the whole thing on Plex.

Bride of the Killer Piñata

Seven years after the original film, all the principals came back together for Bride of the Killer Piñata. Eliza-Jane Morris, Joette Waters, and Elvis Garcia return but otherwise it features a more professional cast. (Daniel Hawkes from the first film is also here but with a better part.) Alex Falk is also back with make-up effects. There is way more blood. The puppetry is great. And the production is overall better due to its increased budget. It also looks like the folks at Full Moon provided some help with the production. (Note: it’s a bit hard to square the film credits with what’s listed on IMDb.)

Of particular note is that the screenplay is much more complex. But it fully justifies the almost two-hour runtime. It’s pretty much a perfect script. And it includes a touching homage to the end of Bride of Frankenstein. Overall, I’d say it is more enjoyable. But the two films would make a great double feature.

Again, I can’t embed the film. But you can watch the whole thing on Tubi.

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Killer Piñata (2015) poster via Plex under Fair Use.

Tony Todd was born on 4 December 1954. Sadly, he died last year on 6 November of stomach cancer.

Todd played the title role in all the Candyman films. I’ve only seen the first of the films. It was based on a Clive Barker short story. And it works well. The critics hated the second and third films. So, you know, probably worth watching. Critics loved the last of them. But critics are so keen to praise Jordan Peele that this may mean nothing. (Well, it means nothing anyway. Critics are idiots!)

Of course, I love Tony Todd because he starred in Tom Savini‘s exceptional Night of the Living Dead remake. I think Duane Jones is great in the original. But Todd was a better actor. And in the film, he plays the part with an intensity that seems more real.

Despite dying relatively young, Todd had an amazing career. In fact, he had the kind of career that I think the vast majority of film actors would prefer. He has 260 credits on IMDb. He worked mostly in film. But he also did a fair amount of TV. This even includes 14 epsiodes of the soup opera The Young and the Restless — despite not getting fed.

A lot of actors I talk about here have been in notable psychotronic films. They aren’t what you would call psychotronic actors. I think I can say that Todd is a psychotronic actor. It would be annoying for me to list all these films. But a few notable ones include The Crow (1992), Death House (2017), and, of course, four of the Final Destination films where he played mortician William Bludworth.

So, let’s celebrate Tony Todd’s birthday by watching Candyman. (If you’d rather watch Night of the Living Dead, just click on Tom Savini’s name above and you’ll find it for free.) He doesn’t get a lot to do, but he is what makes the film work. It’s fun — and scary!

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Image cropped from Tony Todd by Super Festivals under CC BY 2.0.

Metro-Goldwyn-Mayer released London After Midnight on 3 December 1927.

It is a silent film starring Lon Chaney — one of his last. And it has him in one of his most iconic looks as the Man In The Beaver Hat. Otherwise, the film is a decent little mystery with a nice love story and some very creepy visuals. Not that I’ve ever seen it. No one my age or younger has seen it.

The 1965 MGM vault fire destroyed the last known copy of London After Midnight. It also destroyed Lon Chaney’s earlier A Blind Bargain (1922) in addition to the Greta Garbo vehicle The Divine Woman (1928). So this is a sad loss all around. And no one will likely ever discover prints of these films. As it is, most studios took little care in preserving their silent films. And others had little reason to hang on to them. (TV stations often archived prints of sound films for possible broadcast.)

Remember the Iraq War back in 2003? Looters stole many ancient artifacts. (This is yet another reason not to start wars.) And I feel the same way about these lost films. Of course, all these films are in the public domain now. (They weren’t in the public domain when they were destroyed.) It’s kind of hard to believe. In a social sense, these films were certainly in the public domain by the 1940s.

But greed drove us to this. A film might make 99% of all the money in the first year of its release. But we distort the market. Corporations must wring every cent out of the property! The benefit to society at large be damned.

But corporations aren’t all bad. Turner Classic Movies created a 45-minute filmed version of the original using existing photos. Frankly, it’s like a Ken Burns documentary of the film (but without the folksy narration). And it is surprisingly engaging. And on this 98th anniversary of London After Midnight‘s release, let’s watch this reconstruction!

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London After Midnight (1927) poster via Wikimedia. It is in the Public Domain.

Jimmy Sangster was born on 2 December 1927 in Wales.

He was a screenwriter and producer — largely with Hammer Film Productions during its most successful period. But he worked there as a production manager. Hammer had to push him into writing. He first wrote the short, A Man on the Beach. It is a crime drama that would have fit right in with Alfred Hitchcock Presents.

He next wrote the feature X the Unknown. It is sort of a sequel to Hammer’s previous year’s hit, The Quatermass Xperiment. With that, he was on his way. He wrote multiple films for most years into the early 1970s. At that point, he also directed 3 horror films for Hammer.

But starting in 1972, he changed and wrote primarily for US television — continuing at a breakneck speed. He wrote the “Horror in the Heights” episode of Kolchak: The Night Stalker, which will be of interest to psychotronic fans.

But Jimmy Sangster is best known for his Hammer films. He wrote or co-wrote the first three Dracula films and was the sole writer of the first two Frankenstein films and the first Mummy film. He also co-wrote, produced, and directed the final Hammer Frankenstein film, The Horror of Frankenstein.

Today, let’s talk about the two Bette Davis films he wrote and produced. The first was The Nanny (1965). It is an excellent evil-nanny horror film. But I figure most people have seen it.

But more interesting is a film I only just watched for the first time, The Anniversary (1968). It is an extremely funny black comedy where Davis chews the scenery with delightful effect. It is hard to escape the conclusion that she wasn’t the basis for Jessica Walter’s character in Arrested Development.

So let’s celebrate the life and work of Jimmy Sangster by watching this exceptional film!

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Jimmy Sangster via TMDB under Fair Use.