WEBVTT

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Ah, the old camera gong. Yes, how it shines.

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And it beckons us monster lovers to emerge from

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the shadows and give it a whack. Yes, as I lift

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this mallet, I am overcome with memories from

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the past. My silent movie reviews from season

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four when I overcame a murderous little rat named

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Pierre. I wonder where he is these days. Yes,

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well, anyways. Season 5 in which I suffered an

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existential crisis. Yes, the only answer now

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is to beat the gong and press ahead with the

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Poverty Row Picture Show. I am your host, Peter

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Lorre, and we're talking about all of my favorite

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monster movies. The good, the bad, and the downright

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campy. And asking if they stand the test of time.

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Oh, Mr. Lorre, what are you doing? It's the middle

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of the night. Vincent, hello. Will you... I have

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a kid sleeping in the next room. Oh, sorry, sorry,

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Vincent, hello. I... I do not sleep. I am the

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reanimated corpse of Hollywood horror legend

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Peter Lorre, after all. And you may remember

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me from such films as... No, no, no, no. I know

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who you are. It's just... Well, I guess I didn't

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expect you to see it back so soon. How was the

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honeymoon? Oh, fabulous. Have you ever made love

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to a bird lady? God, no. What? Lenore is my soulmate.

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This I am certain. And as we slept in and watched

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all my old movies... She helped me realize that

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I could be doing more on Camp Kaiju. Well, you

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host a terrific segment. Everyone loves it. Sean

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Pryor told me so, and Kaiju Nick wrote in. Hey,

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even Matt appreciates you in his own ways. Do

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not mention that rat bastard in my presence again.

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Sorry, sorry, sorry, sorry. Yikes. Old wounds.

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Well, Mr. Laurie, I'm happy to help you out.

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What do you need? I think I need to get back

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to basics. Yes, in my bones, I feel that the

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Poverty Row picture show should focus more on

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the Poverty Row films themselves. I mean, looking

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back on Season 5, I battled a giant murderous

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plant and read the entirety of Edgar Allan Poe's

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The Raven. I mean, I was not in a good place.

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My point is, with Season 6... I'd like to talk

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more about the classic horror B -movies themselves.

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You know, really, really focus on the production,

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the release, and the legacy of these classic

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horror films. Yeah, okay, we can do that. Oh,

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really? Yes, you think it is possible? I'm the

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one who's got to edit this stuff. I love your

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idea, Mr. Laurie. Hot! Dog, we're back in business.

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I'm glad you're feeling rested and ready to go.

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We've still got that Shemp Howard picture called

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Crazy Nights to review. It's about three guys

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who run afoul of ghosts, a gorilla, and a haunted

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house. Oh, it sounds absolutely terrible. I cannot

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wait. When do we get started? We'll include it

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in the first episode of 2026, Godzilla vs. Mechagodzilla

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2. Wonderful. Hey, wait, where are you going?

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Well, I need to tell you that I have also moved

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in with Lenore. Yes, my bachelor days are over.

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Old Peter Lorre here is coming home to roost,

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and I'll, uh, well, I'll send you my recordings

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via carrier pigeon. All right. I mean, I support

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you, Mr. Lorre. I just, I thought maybe, it sounds

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silly, but I thought maybe we could hit the gamera

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gong together. Just to show you there's no hard

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feelings, I'll let you do the intro. I can do

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that much. All right. On the count of three.

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Ready. One. Two. Three. Welcome to Camp Kite,

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your monster movie podcast. I am your host, Peter

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Lorre, and we're talking about all of our favorite

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monster movies. good, the bad, and the damn right

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can't be, and asking if they stand the test of

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time. Traditional kaiju creature features space

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invaders, the supernatural, and everything in

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between. All strange beasts welcome here. Mrs.

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Peter Lorre speaking. I couldn't resist the temptation

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to call you. I just read of your new picture

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that you ought to make. Oh, that's very nice

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of you. Thanks for your interest. Oh, I thought

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you were magnificent in M. And just the other

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night I saw your new picture, The Man Who Knew

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Too Much. What character are you going to play

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in it? Oh, it's a most unusual story. You know,

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it's a great love drama. I am to be a half -mad

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scientist. I, a poor peasant. have conquered

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science, why can't I conquer love? He shall be

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shut up when it's I who am mad. But nobody knows

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that. Each man kills the thing he loves. Well,

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I got to tell you about Peter Lorre here. He

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is reviewing a movie, a Golden Age ape movie

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starring Bela Lugosa called The Ape Man from

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1943. Mr. Lugosi plays a scientist who, through

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some sort of science gone awry, injects himself

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with an ape serum and turns into an ape man.

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Whoa. That sounds great. It's perfect for Congo.

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Lined up perfectly. Thank Mr. Laurie for that

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work. I know he is in a bit of a jam dealing

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with this lilac. My mental connection, my telepathic

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connection is beeping danger signals right now.

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Can you do anything to help him? Can you get

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into that room? Is it still locked? It is still

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locked. Yeah. I mean, I can do something to help

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him. Do I want to? That's another question. I

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don't know. But I feel I can already see like

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the the petals and like the tendrils of the lilac

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like creeping onto the door. So I'm a little

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freaked out. I don't know if I want to go in

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there right now. But, you know, I don't need

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a telepathic connection to know that he's in

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danger. So I might check on him after this episode

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just to make sure. OK. Okay, we'll check back

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next time to see how he's doing, how you're doing.

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The world might be in danger. You're next, everybody.

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You're next. Look out for that lilac, yeah. While

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I'm in there, I'll ask Mr. Laurie if he has any

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thoughts about why there are so many monkey movies

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in the 1990s. He probably has some thoughts on

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that. Might have. Yeah, he might have. We'll

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see. But he might be also too busy like trying

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to escape from the constricting limbs of the

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lilac. So we'll see. We'll see how he's doing.

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Yeah, just bring your machete in there with you.

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Yeah, exactly. Well, awesome. I can't wait to

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hear Mr. Laurie's thoughts on that. Hopefully

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he's still alive. We'll find out. Welcome to

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the Poverty Row Studios on the other side of

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Hollywood. Where the stars were dimmer and the

00:08:50.100 --> 00:08:53.740
red carpets dripped with blood. Together we will

00:08:53.740 --> 00:08:56.860
watch the best of the worst. Movies known for

00:08:56.860 --> 00:09:00.360
their limited budgets, outlandish concepts, and

00:09:00.360 --> 00:09:03.639
questionable performances. But with enough haunted

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houses, zombies, ape men, and devil bats to keep

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you up at night. This is the Poverty Row Picture

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Show. And I dare you to sleep through these nightmares.

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Hello there. I am Peter Lorre and I have but

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minutes to live. As you can hear, I am in a little

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bit of a pickle. You see, my fiendish friend,

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my botanical buddy, my platonic plant, my lilac,

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has turned on me. Oh, and it is currently squeezing

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me to death. But damn it all to hell if I do

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not continue reviewing these poverty row movies.

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If I am to go out, I can think of no better way

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than discussing The Ape Man whilst being munched

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on by a monster flower. Here we go. The Ape Man

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stars Bela Lugosi and was shot within a week

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at Monogram Studios. The story is rather derivative.

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A scientist injects himself with spinal fluid

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from a gorilla and what you know he turns into

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an ape himself. And of course the cure lies in

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the spinal fluid of regular old human beings.

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Thus begins the murder spree as Lugosi preys

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on the innocent with the help of his sidekick,

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an actual gorilla. Now this gorilla was a costume

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and portrayed by veteran ape actor Emo Van Horn.

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Sunshine Sammy Morris, for what it's worth of

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the East End kids, also makes an appearance.

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Now, after you've both seen Monogram's previous

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film called The Ape with Boris Karloff, you would

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be on the money. Look, if you've got the gorilla

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costume, you might as well use it. And as Matthew

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and Vincent discussed, such pictures were popular

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at this time. I do not know anything about the

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1990s, however, to venture a guess about that

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decade's interest in cinematic simians. Now,

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despite the predictable story, The Ape Man is

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not a terrible movie, all things considered.

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Mr. Legosi, ever the professional, gives it his

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all. God bless that man. It is interesting to

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note that Legosi's previous gig was playing the

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Frankenstein monster in Universal's Frankenstein

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Meets the Wolfman. However, Universal did not

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call him back for their next project, Son of

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Dracula. Ironic, eh? Well, the Universal brass

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shared little of the respect Monogram had for

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Legosi. However hammy he may be in these movies,

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they are made that much more enjoyable with his

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presence. So seek out the ape man. And if I survive

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my present ordeal, I'd love to hear from you.

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Oh, that's the spot. That one didn't feel too

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bad. Nope. No. No, that one hurt. Here it is,

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listeners. I face the deep, dark depths of the

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lilac's maw. And before I get eaten, we'll see

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you next week for Sunshine Sammy Morris and those

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other East End kids in a 1943 movie called Ghosts

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on the Loose. So coming up on the Poverty Row

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Picture Show is a 1943 movie called Ghosts on

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the Loose starring Bela Lugosi and the Dead End

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Kids. Letterboxd likes to... share maybe like

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the tagline of the film and i love this tagline

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it says you'll yell with glee when these happy

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-go -lucky hooligans invade the shivery domain

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of the man of a thousand horrors it's hilarious

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it's a good word so uh check out ghosts on the

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loose and uh join peter lorry How do you, I'm

00:13:24.139 --> 00:13:25.980
surprised we haven't really talked too much about

00:13:25.980 --> 00:13:28.779
the Abbott and Costello meet blah, blah, blah,

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fill in the blanks movies. I'm guessing we'll

00:13:32.200 --> 00:13:33.840
maybe bring some of them into the podcast at

00:13:33.840 --> 00:13:35.399
some point, but I'm curious about your thoughts.

00:13:36.620 --> 00:13:39.419
Abbott and Costello meet Frankenstein is one

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of the funniest movies ever made. Yeah. Arguably

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like that's a common, no contest argument there.

00:13:46.940 --> 00:13:53.429
It's hilarious. Yeah. Or chill areas. One might

00:13:53.429 --> 00:13:57.889
say. One might say. The other ones I've seen,

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Abbott and Costello meet the mummy, is so tired

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in its presentation. It's the last film they

00:14:06.710 --> 00:14:11.009
made as a duo. And they seem tired. The jokes

00:14:11.009 --> 00:14:15.330
are tired. The mummies are tired. Abbott and

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Costello meet Dr. Jekyll and Mr. Hyde is fun.

00:14:18.090 --> 00:14:22.840
Boris Karloff plays Dr. Jekyll in that. And then

00:14:22.840 --> 00:14:24.399
there's Abbott and Costello meet the invisible

00:14:24.399 --> 00:14:30.159
man, which is also fun. But but they're just,

00:14:30.179 --> 00:14:33.200
you know, they're worthwhile for the gags. But

00:14:33.200 --> 00:14:37.519
something about meet Frankenstein is just. It's

00:14:37.519 --> 00:14:41.759
just like a complete movie in ways that it's

00:14:41.759 --> 00:14:46.340
more than just gags. So that's my two minute

00:14:46.340 --> 00:14:50.779
review of those of those movies. Yeah. I think

00:14:50.779 --> 00:14:52.620
the Frankenstein one is the only one that I saw

00:14:52.620 --> 00:14:55.659
like a long time ago when I was a kid. And maybe

00:14:55.659 --> 00:14:57.720
there's one where they meet the Wolfman also,

00:14:57.799 --> 00:15:01.539
right? That's in that one. Okay. Yeah. So that

00:15:01.539 --> 00:15:06.960
plot is they, they, they run across Larry Talbot

00:15:06.960 --> 00:15:10.820
played by Lon Chaney Jr. And of course he's like,

00:15:10.860 --> 00:15:13.259
I got to find a cure for my lycanthropy. And

00:15:13.259 --> 00:15:15.120
they're like, okay, buddy, every man turns into

00:15:15.120 --> 00:15:17.940
a wolf at the full moon. And he's like, no, you

00:15:17.940 --> 00:15:22.580
don't understand. I'm really a wolf. I vaguely

00:15:22.580 --> 00:15:24.259
remember that, I think, from a long time ago.

00:15:24.419 --> 00:15:28.019
Yeah. So then they go find Dr. Frankenstein and

00:15:28.019 --> 00:15:33.519
Dracula shows up. And yeah, it's hilarity ensues.

00:15:33.879 --> 00:15:40.799
Chilarity ensues. Yeah. Chilarity. I'm sorry

00:15:40.799 --> 00:15:43.399
to lead us on that tangent, but I hope we bring

00:15:43.399 --> 00:15:45.279
one of those movies to the podcast at some point.

00:15:46.320 --> 00:16:01.980
Absolutely. Yeah, they're great. Welcome to the

00:16:01.980 --> 00:16:05.580
Poverty Row Studios on the other side of Hollywood.

00:16:05.879 --> 00:16:08.840
Where the stars were dimmer and the red carpets

00:16:08.840 --> 00:16:11.980
dripped with blood. Together we will watch the

00:16:11.980 --> 00:16:15.159
best of the worst. Movies known for their limited

00:16:15.159 --> 00:16:18.879
budgets, outlandish concepts, and questionable

00:16:18.879 --> 00:16:21.960
performances. But with enough haunted houses,

00:16:22.259 --> 00:16:25.759
zombies, ape men, and devil bats to keep you

00:16:25.759 --> 00:16:29.159
up at night. This is the Poverty Row Picture

00:16:29.159 --> 00:16:32.850
Show. And I dare you to sleep through these nightmares.

00:16:36.730 --> 00:16:42.169
Hello there. I am Peter Lorre coming to you from

00:16:42.169 --> 00:16:45.490
inside the belly of my beloved yet admittedly

00:16:45.490 --> 00:16:49.570
bloodthirsty lilac plant. Yes, I have been swallowed

00:16:49.570 --> 00:16:52.629
by the monster, but fret not. As I have been

00:16:52.629 --> 00:16:56.870
consumed limb by broken limb, I managed to grab

00:16:56.870 --> 00:17:00.240
a hold of a sharp and pointed tooth. It broke

00:17:00.240 --> 00:17:03.659
off in my hand and now, deep within the digestive

00:17:03.659 --> 00:17:07.940
tract of the lilac, I wield it as a sword and

00:17:07.940 --> 00:17:12.539
will soon be free of my captor's stomach. But

00:17:12.539 --> 00:17:16.599
I better act quick, lest I be liquefied by these

00:17:16.599 --> 00:17:30.240
acidic juices. Yes. I am free. Yes, take that,

00:17:30.380 --> 00:17:33.920
you infernal beast. Back to the hell from whence

00:17:33.920 --> 00:17:44.500
you came. Now, on with the show. This week's

00:17:44.500 --> 00:17:47.960
movie is called Ghosts on the Loose. It is a

00:17:47.960 --> 00:17:52.650
tired 1943 outing with the East End kids Running

00:17:52.650 --> 00:17:55.890
amok in a haunted house with Bailey Lugosi playing

00:17:55.890 --> 00:17:59.630
a gangster and Nazi agent out to get them. And

00:17:59.630 --> 00:18:03.309
what the synopsis promises, chilarity. The film

00:18:03.309 --> 00:18:07.650
is anything but. Clocking in at 64 minutes, much

00:18:07.650 --> 00:18:10.109
of the film is comprised of antics fit for a

00:18:10.109 --> 00:18:12.789
first grader, but hardly worthy of any of the

00:18:12.789 --> 00:18:16.470
talents involved. Mr. Lugosi doesn't even show

00:18:16.470 --> 00:18:19.910
up until halfway through. Now, it is interesting

00:18:19.910 --> 00:18:23.109
to see the great Ava Gardner in an early role,

00:18:23.269 --> 00:18:26.369
but it is as thankless as anything else. You're

00:18:26.369 --> 00:18:29.049
much better off viewing the similar, but actually

00:18:29.049 --> 00:18:33.130
hilarious, Spooks Run Wild. Alright, alright,

00:18:33.309 --> 00:18:36.089
well, next time we will cover another zombie

00:18:36.089 --> 00:18:39.309
picture called Revenge of the Zombies, starring

00:18:39.309 --> 00:18:43.170
John Carradine. And until then, I'll need to

00:18:43.170 --> 00:18:47.160
clean up this disgusting mess. Yuck! Perhaps

00:18:47.160 --> 00:18:50.519
Matthew might be so kind as to lend a hand. But

00:18:50.519 --> 00:18:53.460
fat chance, knowing what care he has shown me

00:18:53.460 --> 00:18:57.180
until now. Fighting for my life and an area.

00:18:57.259 --> 00:19:00.700
How are you, Peter? Do you need a hand, Peter?

00:19:01.259 --> 00:19:05.319
Perhaps a spade and shovel, Peter? Curse you,

00:19:05.400 --> 00:19:18.029
Matthew. Curse you. Curse you. How is Peter Lorre

00:19:18.029 --> 00:19:25.309
doing? He's alive. God, still? Hey, whoa. What's

00:19:25.309 --> 00:19:28.150
this beef? Does he have to come live with me

00:19:28.150 --> 00:19:30.490
for a little bit? That might be a good idea,

00:19:30.569 --> 00:19:35.730
actually, yeah. Oh, okay. Well, before I make

00:19:35.730 --> 00:19:40.710
any promises, you know. I'm sorry, Peter. I didn't

00:19:40.710 --> 00:19:43.980
mean it. You know, it could be a Patreon perk.

00:19:44.420 --> 00:19:47.720
You can sponsor Peter Lorre and let him crash

00:19:47.720 --> 00:19:51.339
at your house. But it has to be in a dank cellar,

00:19:51.339 --> 00:19:53.640
and you have to lock him up and feed him fish

00:19:53.640 --> 00:19:57.319
heads. Those are the requirements. Well, you

00:19:57.319 --> 00:20:01.039
know, he escaped the lilac. He was swallowed,

00:20:01.200 --> 00:20:04.380
and then he cut himself out. All right, well,

00:20:04.480 --> 00:20:06.140
I'm glad he's okay. I'm glad he's still alive.

00:20:06.259 --> 00:20:08.640
That's good. I take it back. Yeah, I don't think

00:20:08.640 --> 00:20:11.420
he's happy with you, though. no i'm sure he's

00:20:11.420 --> 00:20:17.039
not yeah that's fair it's it's only gonna get

00:20:17.039 --> 00:20:20.279
worse that's all right so it goes well we'll

00:20:20.279 --> 00:20:23.960
see what happens tonight he's talking about another

00:20:23.960 --> 00:20:28.160
poverty row picture show movie called revenge

00:20:28.160 --> 00:20:33.859
of the zombies dead men can't die but live to

00:20:33.859 --> 00:20:40.730
follow a madman's will cool I'm intrigued. Yeah,

00:20:40.930 --> 00:20:43.690
John Carradine. He's going to be doing some crazy

00:20:43.690 --> 00:20:47.730
mad doctor things, I think. Oh, there are Nazis

00:20:47.730 --> 00:20:56.410
involved. Oh, man. And 43? Wow, timely. Not surprising.

00:20:56.890 --> 00:21:00.789
When Dr. Von Alterman's wife, Lila, dies mysteriously

00:21:00.789 --> 00:21:03.230
at his spooky mansion, her relations suspect

00:21:03.230 --> 00:21:06.319
murder. They also suspect the doctor is turning

00:21:06.319 --> 00:21:08.839
her into a zombie to join the army of living

00:21:08.839 --> 00:21:12.059
dead he hopes to devote to the Nazi cause. However,

00:21:12.359 --> 00:21:15.720
Lila, though dead, has developed a will of her

00:21:15.720 --> 00:21:19.039
own. Man, I'm pretty intrigued by this movie.

00:21:19.099 --> 00:21:22.380
It reminds me of Shockwaves, which is also about

00:21:22.380 --> 00:21:24.660
zombie Nazis that played at the trial on a couple

00:21:24.660 --> 00:21:27.119
weeks ago, maybe like a month ago at this point.

00:21:27.599 --> 00:21:31.130
That's right. Yeah. So zombie Nazis, apparently,

00:21:31.349 --> 00:21:34.369
you know, a recurring theme throughout film history.

00:21:34.569 --> 00:21:37.750
Yeah. Who knew there is a rich cinematic tradition

00:21:37.750 --> 00:21:44.890
of zombie Nazis. Oh, wow. I cannot wait to hear

00:21:44.890 --> 00:21:49.589
Peter Lorre hold forth on this topic. Let's give

00:21:49.589 --> 00:22:05.380
it to him. Welcome to Poverty Row Studios on

00:22:05.380 --> 00:22:09.240
the other side of Hollywood. Where the stars

00:22:09.240 --> 00:22:12.220
were dimmer and the red carpets dripped with

00:22:12.220 --> 00:22:16.039
blood. Together, we will watch the best of the

00:22:16.039 --> 00:22:19.140
worst. Movies known for their limited budgets,

00:22:19.640 --> 00:22:23.400
outlandish concepts, and questionable performances.

00:22:23.900 --> 00:22:28.380
But with enough haunted houses, zombies, ape

00:22:28.380 --> 00:22:32.990
men, and devil bats to keep you up at night this

00:22:32.990 --> 00:22:36.809
is the poverty row picture show and i dare you

00:22:36.809 --> 00:22:44.809
to sleep through these nightmares greetings ghouls

00:22:44.809 --> 00:22:49.009
and gals monsters and madmen my name is peter

00:22:49.009 --> 00:22:52.130
lorry and i am back you dirty rotten scoundrels

00:22:52.130 --> 00:22:55.430
oh you thought you thought you had heard the

00:22:55.430 --> 00:22:59.099
last of me you thought the puny petunia could

00:22:59.099 --> 00:23:03.380
finish me you thought i would be the excrement

00:23:03.380 --> 00:23:08.579
of a horticultural kaiju well allow me to defy

00:23:08.579 --> 00:23:13.160
the odds once more i returned to review monster

00:23:13.160 --> 00:23:16.940
movies for camp kaiju and with no help from that

00:23:16.940 --> 00:23:20.880
rat bastard maggie cole levine Sure, he goes

00:23:20.880 --> 00:23:23.200
to the fisherman's docks each and every morning

00:23:23.200 --> 00:23:25.880
to gather the delectable fish heads, but at what

00:23:25.880 --> 00:23:29.599
price to my dignity? When I needed him most,

00:23:29.779 --> 00:23:35.099
he was not there. This, dear listeners, is unforgivable,

00:23:35.160 --> 00:23:39.019
and I will have my day. You hear me, world? I

00:23:39.019 --> 00:23:45.539
will have my day. But until that day when Matthew

00:23:45.539 --> 00:23:49.230
knows the cost of his negligence, I will continue

00:23:49.230 --> 00:23:53.089
to review monster movies of the poverty row studios

00:23:53.089 --> 00:23:58.349
of classic Hollywood. This week, we feature a

00:23:58.349 --> 00:24:03.410
zombie thriller from Monogram Pictures. 1943's

00:24:03.410 --> 00:24:07.210
Revenge of the Zombies, starring John Carradine

00:24:07.210 --> 00:24:11.029
as a Nazi scientist hell -bent on creating a

00:24:11.029 --> 00:24:15.890
zombie army to crush the Allies. The story bears

00:24:15.890 --> 00:24:19.230
a strong resemblance to previous films featured

00:24:19.230 --> 00:24:23.029
on the Poverty Row picture show, The Mad Monster,

00:24:23.349 --> 00:24:28.130
George Zuko creating a werewolf army, and King

00:24:28.130 --> 00:24:31.809
of the Zombies, the latter also featuring African

00:24:31.809 --> 00:24:36.049
-American actor Mantan Moreland. In Revenge,

00:24:36.130 --> 00:24:39.539
Moreland plays the same comedic relief. albeit

00:24:39.539 --> 00:24:43.059
less incorporated into the overall plot, but

00:24:43.059 --> 00:24:46.920
no less the saving grace of this film. Overall,

00:24:47.279 --> 00:24:50.000
however, Revenge of the Zombies plays like a

00:24:50.000 --> 00:24:52.980
reprint of King of the Zombies, but with a sense

00:24:52.980 --> 00:24:57.200
of been there, done that. Nevertheless, the picture

00:24:57.200 --> 00:25:00.640
has some wicked moments of camp and visual thrills,

00:25:00.720 --> 00:25:04.160
rare elements indeed in these movies of the poverty

00:25:04.160 --> 00:25:08.210
row for that reason. I would recommend Revenge

00:25:08.210 --> 00:25:11.390
of the Zombies. Perhaps a Mantan Moreland double

00:25:11.390 --> 00:25:14.750
feature is in store with King of the Zombies

00:25:14.750 --> 00:25:19.430
playing first. Yes, yes, this is shaping up to

00:25:19.430 --> 00:25:22.349
be quite the movie night. If anyone out there

00:25:22.349 --> 00:25:25.089
wishes to have me over, I will bring the popcorn.

00:25:25.410 --> 00:25:29.269
I will also never leave, especially if I shuffle

00:25:29.269 --> 00:25:32.130
off to the bathroom and happen to open the wrong

00:25:32.130 --> 00:25:35.289
door. and discover a guest bedroom with with

00:25:35.289 --> 00:25:39.670
a firm mattress and and throw pillows and a and

00:25:39.670 --> 00:25:43.809
a sultry silk count and and no potted plants

00:25:43.809 --> 00:25:49.250
oh yes well until then we will discuss our next

00:25:49.250 --> 00:25:52.170
film on the poverty row picture show a little

00:25:52.170 --> 00:25:57.049
film called voodoo man yes it stars the unholy

00:25:57.049 --> 00:26:33.829
three keratin zuko and Bela Lugosi. of blood

00:26:33.829 --> 00:26:37.869
feels the freezing paralysis of fear almost stopping

00:26:37.869 --> 00:26:42.269
your heart as Edgar Allan Poe unfolds his tales

00:26:42.269 --> 00:26:48.069
of terror. You will meet the master of the mansion

00:26:48.069 --> 00:26:51.670
who loved and protected his wife with the strength

00:26:51.670 --> 00:26:56.150
of a supernatural love even beyond life itself.

00:26:58.970 --> 00:27:01.829
I am in command here. You will do as I say. I

00:27:01.829 --> 00:27:03.869
shall take what I desire, your body and your

00:27:03.869 --> 00:27:06.529
soul, if I demand it. I've heard enough. Help!

00:27:06.890 --> 00:27:14.829
Help! Help! Then you'll enjoy the black cat's

00:27:14.829 --> 00:27:18.329
sardonically humorous tale. It all started at

00:27:18.329 --> 00:27:20.509
the Vintner's Convention, where the lover of

00:27:20.509 --> 00:27:23.569
wine met the professional wine taster and introduced

00:27:23.569 --> 00:27:28.230
him to his wife, a darling who delighted in dalliance.

00:27:36.569 --> 00:27:39.869
What kind of a man are you anyway? Make love

00:27:39.869 --> 00:27:42.890
to my wife and doesn't even talk to me. You're

00:27:42.890 --> 00:27:50.710
insane. That may be, but very clever. Help! Help!

00:27:51.430 --> 00:27:55.589
Help! In this monstrous mausoleum of the living,

00:27:55.710 --> 00:27:59.089
you will witness fury far worse than a woman

00:27:59.089 --> 00:28:05.069
scorned. The fury of a dead woman's jealousy.

00:28:38.829 --> 00:28:45.029
Invisible Man. It's amazing. You will be of great

00:28:45.029 --> 00:28:49.269
help to us. Who is this terrifying Phantom Commando?

00:28:49.450 --> 00:28:52.730
What is his amazing mission? See The Invisible

00:28:52.730 --> 00:28:55.910
Agent, suggested by H .G. Wells' Invisible Man,

00:28:56.150 --> 00:29:00.269
starring Ilona Massey and John Hall, with Peter

00:29:00.269 --> 00:29:03.250
Lorre, Sir Cedric Hardwick, J. Edward Bromberg,

00:29:03.430 --> 00:29:06.470
Albert Bosserman, in the most amazing story of

00:29:06.470 --> 00:29:27.299
our times. Stop! Who is there? How did you know

00:29:27.299 --> 00:29:29.480
I was going to England? I didn't, but... So the

00:29:29.480 --> 00:29:32.200
trap was all set, eh? Frank, how can you talk

00:29:32.200 --> 00:29:38.299
like that? What's this? It's full of hooks. They're

00:29:38.299 --> 00:30:18.589
tearing into me. to tell you, astounding, incredible.

00:30:19.430 --> 00:30:23.089
The fabulous tale of Demetrius, an evil genius

00:30:23.089 --> 00:30:26.849
whose crimes baffled the continent for 20 years.

00:30:27.190 --> 00:30:29.990
The will of the wisp whose face the police had

00:30:29.990 --> 00:30:33.809
never even seen. But Demetrius hid behind many

00:30:33.809 --> 00:30:37.509
masks, an obscure present one day, a bank of

00:30:37.509 --> 00:30:41.809
the next. A man, no, a devil without heart or

00:30:41.809 --> 00:30:46.299
soul or conscience. I knew him only too well.

00:30:46.539 --> 00:30:50.759
But Demetrius... A little surprised, Peterson?

00:30:52.440 --> 00:30:55.819
Demetrius, utterly without scruples, completely

00:30:55.819 --> 00:31:01.700
immoral, but fascinating. I feared him, yet I

00:31:01.700 --> 00:31:05.019
loved him. As far as I know, no government ever

00:31:05.019 --> 00:31:08.119
caught Demetrius. But I knew I hated him enough

00:31:08.119 --> 00:31:46.119
to kill him. You have to give me an exchange.

00:31:47.160 --> 00:31:51.180
Silence, Demetrius. It's very valuable. Place

00:31:51.180 --> 00:31:53.000
your hands behind your head. You too, Bernard.

00:31:53.240 --> 00:31:55.339
But, Demetrius. Turn around. You certainly cannot

00:31:55.339 --> 00:31:58.180
expect to get away with this. I can do anything.

00:32:27.120 --> 00:32:30.500
Actually, yeah. We do have a little note here

00:32:30.500 --> 00:32:33.519
from Kaiju Nick. Thank you for writing in, Kaiju

00:32:33.519 --> 00:32:57.400
Nick. He says, Thank you, Kaiju Nick. Always

00:32:57.400 --> 00:33:01.359
a pleasure to see Mr. Laurie unexpectedly. And

00:33:01.359 --> 00:33:03.519
to see him on Camp Kaiju as well, or hear him

00:33:03.519 --> 00:33:07.799
anyway. Yeah, honestly, Kaiju Nick, Mr. Laurie's

00:33:07.799 --> 00:33:10.680
very happy about that email. I had to show him

00:33:10.680 --> 00:33:12.700
what email is, but once he got the hang of it,

00:33:12.720 --> 00:33:16.339
he loved it. I'm sure he'll have something to

00:33:16.339 --> 00:33:18.519
say about that. Did he even remember acting in

00:33:18.519 --> 00:33:21.420
that movie, 20 ,000 Leagues Under the Sea? Like,

00:33:21.480 --> 00:33:24.099
oh, this doesn't ring a bell. I say, I don't

00:33:24.099 --> 00:33:30.480
remember him being in 20 ,000. He plays Kirk

00:33:30.480 --> 00:33:34.259
Douglas's like little buddy. He's like right

00:33:34.259 --> 00:33:39.539
hand man. Oh, really? Yeah. Laurie's pretty understated

00:33:39.539 --> 00:33:42.039
in the role. I mean, it's a really bombastic

00:33:42.039 --> 00:33:46.400
film. And Kirk Douglas just consumes screen presence.

00:33:47.000 --> 00:33:50.559
But but Laurie's there solid doing is doing his

00:33:50.559 --> 00:33:54.369
job. Yeah. Always likable. I'll pass that on

00:33:54.369 --> 00:33:59.849
to Mr. Laurie. And he's going to talk about a

00:33:59.849 --> 00:34:04.410
little film from 1944 called Voodoo Man. It stars

00:34:04.410 --> 00:34:08.070
John Carradine, Bela Lugosi and George Zuko.

00:34:08.289 --> 00:34:11.289
And this movie, I love reading these letterbox

00:34:11.289 --> 00:34:18.230
synopses. So apparently the tagline for Voodoo

00:34:18.230 --> 00:34:22.780
Man is. His lust for voodooism spells D -O -O

00:34:22.780 --> 00:34:26.980
-M. Yeah. The movie is about a mad doctor and

00:34:26.980 --> 00:34:29.739
his helpers who lure girls to his lab for brain

00:34:29.739 --> 00:34:32.659
work to help his wife. What does brain work mean?

00:34:34.099 --> 00:34:36.619
What does any of that mean? Right. I don't know.

00:34:36.699 --> 00:34:41.880
To help his wife. Help his wife with what? Good

00:34:41.880 --> 00:34:46.940
question. I'm a little scared. And how does voodoo

00:34:46.940 --> 00:34:50.690
fit into all that as well? And is it his lust

00:34:50.690 --> 00:34:53.789
that spells doom? Like, how does that work? I

00:34:53.789 --> 00:35:08.849
guess we'll have to listen and find out. Welcome

00:35:08.849 --> 00:35:12.710
to the Poverty Row Studios on the other side

00:35:12.710 --> 00:35:17.360
of Hollywood, where the stars were dimmer. and

00:35:17.360 --> 00:35:20.159
the red carpets dripped with blood. Together

00:35:20.159 --> 00:35:23.619
we will watch the best of the worst. Movies known

00:35:23.619 --> 00:35:26.760
for their limited budgets, outlandish concepts,

00:35:27.059 --> 00:35:29.760
and questionable performances, but with enough

00:35:29.760 --> 00:35:33.820
haunted houses, zombies, ape men, and devil bats

00:35:33.820 --> 00:35:37.559
to keep you up at night. This is the Poverty

00:35:37.559 --> 00:35:40.840
Row Picture Show, and I dare you to sleep through

00:35:40.840 --> 00:35:50.000
these nightmares. I am Peter Lorre, and yes,

00:35:50.219 --> 00:35:54.179
I was in 20 ,000 Leagues Under the Sea. And,

00:35:54.300 --> 00:35:57.940
and, the Nautilus was not the only dreamboat

00:35:57.940 --> 00:36:01.239
in the production. Kirk Douglas, am I right?

00:36:01.559 --> 00:36:06.099
I'll swear by his tattoo. Yes, well, that's more

00:36:06.099 --> 00:36:09.219
than I can say for Matthew Cole Levine, leaving

00:36:09.219 --> 00:36:14.219
me for dead in this rotten apartment. Well, before

00:36:14.219 --> 00:36:17.420
I digress... Thank you, Kaiju Nick, for your

00:36:17.420 --> 00:36:23.880
electronic correspondence. And thank you, Peter

00:36:23.880 --> 00:36:27.300
Laurie, for willingly giving me the microphone

00:36:27.300 --> 00:36:32.420
for this segment. Wait, what? Is that you, Bela?

00:36:32.519 --> 00:36:36.380
Bela Lugosi? Well, Matthew just let anyone in

00:36:36.380 --> 00:36:40.360
these days. I have ways of getting through locked

00:36:40.360 --> 00:36:44.159
doors. And considering tonight's review is about

00:36:44.159 --> 00:36:49.840
my 1944 film, Voodoo Man, I'm afraid I must do

00:36:49.840 --> 00:36:53.940
the honors. Fine by me, pal. I mean, I still

00:36:53.940 --> 00:36:57.559
need to pack. I need to comb my hair. Find a

00:36:57.559 --> 00:37:01.619
new place to hang my hat. Listeners, I will return

00:37:01.619 --> 00:37:05.320
next week for all new thrills when we discuss

00:37:05.320 --> 00:37:10.079
a non -Bela Lugosi movie called... The Monster

00:37:10.079 --> 00:37:15.039
Maker. And I will hang about and tell you all

00:37:15.039 --> 00:37:19.480
what the Voodoo Man's lust is all about. Yeah,

00:37:19.559 --> 00:37:22.840
good luck with all that. Children of the podcast,

00:37:23.440 --> 00:37:28.519
I bid you welcome. Voodoo Man marks my eighth

00:37:28.519 --> 00:37:32.619
and final picture with Monogram Studios. You

00:37:32.619 --> 00:37:37.139
have seen me yuck it up with Eastside Kids. You

00:37:37.139 --> 00:37:39.960
have seen me play gangsters and mad scientists.

00:37:40.280 --> 00:37:44.699
You have seen me wrestle zombies and devil bats

00:37:44.699 --> 00:37:49.960
and play the best ape man this side of the jungle.

00:37:50.179 --> 00:37:53.980
And now, to end my contract with Monogram, I

00:37:53.980 --> 00:37:57.619
don a necromancer's robe as John Carradine and

00:37:57.619 --> 00:38:00.760
George Zuko abduct young women from my nefarious

00:38:00.760 --> 00:38:04.019
plan to transfer their life forces into the corpse

00:38:04.019 --> 00:38:08.280
of my beautiful bride. Now, Voodoo Man has been

00:38:08.280 --> 00:38:10.659
called a better film than most I made in the

00:38:10.659 --> 00:38:14.820
1940s. Indeed, after my time with Monogram, the

00:38:14.820 --> 00:38:18.420
choice roles were hard to come by. Even Universal

00:38:18.420 --> 00:38:22.760
stopped calling. Oh, sure, there was Abbott and

00:38:22.760 --> 00:38:27.079
Costello meet Frankenstein in 1948, but that

00:38:27.079 --> 00:38:30.699
was about it until the Ed Wood pictures and my

00:38:30.699 --> 00:38:34.880
old slow descent into the fangs of death in 1956.

00:38:36.489 --> 00:38:39.690
So I thank you, and Peter Lorre, for being kind

00:38:39.690 --> 00:38:43.050
to me on the Poverty Row Picture Show. Even if

00:38:43.050 --> 00:38:45.730
the movies themselves were less than praiseworthy,

00:38:46.070 --> 00:38:49.510
I did what I could with what I had. But always

00:38:49.510 --> 00:38:52.130
better to reign in hell than serve in heaven.

00:38:52.349 --> 00:38:56.630
And so, I bid you adieu, and until we meet again,

00:38:56.869 --> 00:39:01.730
remember, I was once in a movie called Bela Lugosi

00:39:01.730 --> 00:39:16.039
Meets a Brooklyn Gorilla. So stupid. And Peter

00:39:16.039 --> 00:39:21.760
Lorre, Matt, did you even notice he moved out?

00:39:23.159 --> 00:39:26.199
You know, it's been so quiet and peaceful here.

00:39:26.340 --> 00:39:29.420
That explains it. That must be why. Yeah. Well,

00:39:29.480 --> 00:39:35.099
now I can't sleep at night. Because I got some

00:39:35.099 --> 00:39:39.500
hoodlum moving in to my basement down here. It's

00:39:39.500 --> 00:39:43.320
Peter Lorre. Oh, man. There must be a high -pitched

00:39:43.320 --> 00:39:45.260
German muttering down there all the time now.

00:39:45.900 --> 00:39:48.820
Ada's asking me what is going on. You know, I

00:39:48.820 --> 00:39:52.880
can only keep Lorre from her for so long. That's

00:39:52.880 --> 00:39:57.400
terrifying. You gave him my address. I did no

00:39:57.400 --> 00:39:59.219
such thing. I might have given him a general

00:39:59.219 --> 00:40:03.579
direction, but, you know. Some landmarks, possibly.

00:40:05.599 --> 00:40:07.280
I didn't I didn't think he was even going to

00:40:07.280 --> 00:40:10.719
survive all the way over there. Well, he did.

00:40:10.820 --> 00:40:16.199
And now I have to find accommodations for someone

00:40:16.199 --> 00:40:20.079
else in my house. Thank you. Oh, I'm sorry about

00:40:20.079 --> 00:40:23.340
that. I I'll offer you some tips to like make

00:40:23.340 --> 00:40:25.619
it a little bit easier. Maybe I'll give him like

00:40:25.619 --> 00:40:28.690
a parting gift, you know. since he's not in my,

00:40:28.690 --> 00:40:31.230
in my place anymore, but yeah, good luck. That's

00:40:31.230 --> 00:40:34.630
all. That's all I can say. I brought this on

00:40:34.630 --> 00:40:37.670
myself, but we'll see. We'll, we'll make it work.

00:40:37.750 --> 00:40:40.230
We'll make it work. All right. He's got to talk

00:40:40.230 --> 00:40:47.150
to us about a 1944 movie called the monster maker.

00:40:48.570 --> 00:41:03.389
Oh, that's a good title. Welcome to the Poverty

00:41:03.389 --> 00:41:06.869
Row Studios, on the other side of Hollywood,

00:41:07.110 --> 00:41:10.369
where the stars were dimmer and the red carpets

00:41:10.369 --> 00:41:13.349
dripped with blood. Together we will watch the

00:41:13.349 --> 00:41:16.409
best of the worst. Movies known for their limited

00:41:16.409 --> 00:41:20.230
budgets, outlandish concepts, and questionable

00:41:20.230 --> 00:41:23.469
performances, but with enough haunted houses,

00:41:23.550 --> 00:41:26.989
zombies, ape men, and devil bats to keep you

00:41:26.989 --> 00:41:31.179
up at night. Yes. It's the Poverty Row Picture

00:41:31.179 --> 00:41:35.059
Show, and I dare you to sleep through these nightmares.

00:41:40.760 --> 00:41:44.800
Greetings ghouls and gals, and happy October.

00:41:45.139 --> 00:41:49.219
It is the gravest season of all. And thanks to

00:41:49.219 --> 00:41:53.280
Bela Lugosi for covering me last week. That man

00:41:53.280 --> 00:41:57.329
can really vamp on the mic. But now I return

00:41:57.329 --> 00:42:01.070
to continue the Poverty Row Picture Show. Coming

00:42:01.070 --> 00:42:04.630
to you now from all new digs. That's right. I

00:42:04.630 --> 00:42:08.269
have left the unfriendly confines of Matthew's

00:42:08.269 --> 00:42:12.949
dirty, rotten, stinking, lousy, two -bit, flea

00:42:12.949 --> 00:42:17.050
-infested excuse for a home. And now I find myself

00:42:17.050 --> 00:42:21.909
in the basement dwellings of Vincent's own abode.

00:42:22.590 --> 00:42:29.059
Hmm. What do we have here? Yes, this is good.

00:42:29.340 --> 00:42:33.360
A full liquor cabinet and a color television

00:42:33.360 --> 00:42:37.119
set. Well, I am sure that Vincent will not mind

00:42:37.119 --> 00:42:40.739
if I make myself comfy. We haven't exactly established

00:42:40.739 --> 00:42:45.679
the house rules, but... Ah, what the heck. Now,

00:42:45.679 --> 00:42:48.900
what movie are we reviewing tonight? Ah, yes.

00:42:49.980 --> 00:42:54.590
1944's The Monster Maker. This devilish B -movie

00:42:54.590 --> 00:42:58.409
concerns a mad scientist played by J. Carroll

00:42:58.409 --> 00:43:02.429
Nash, who injects his would -be adversaries with

00:43:02.429 --> 00:43:06.110
the serum of acromagaly. This is the disease

00:43:06.110 --> 00:43:09.869
of the Elephant Man, Rondo Hanton, and that scientist

00:43:09.869 --> 00:43:14.050
from Universal's Tarantula. In reality, it is

00:43:14.050 --> 00:43:16.710
a rare disorder that causes the enlargement of

00:43:16.710 --> 00:43:20.500
the face, arms, and legs. Certainly no laughing

00:43:20.500 --> 00:43:23.579
matter, and its use as a monstrous plot point

00:43:23.579 --> 00:43:27.300
in this film and others is morally dubious, even

00:43:27.300 --> 00:43:30.940
for the films of the poverty row. However, how

00:43:30.940 --> 00:43:34.340
does the monster maker stack up against others

00:43:34.340 --> 00:43:39.059
of its ilk? Well, J. Carol Nash brings a certain

00:43:39.059 --> 00:43:42.519
Oscar -padded resume to the film, but he can

00:43:42.519 --> 00:43:46.099
only do so much as the one -note doctor. Then...

00:43:46.329 --> 00:43:48.449
Would you believe there's even a killer gorilla

00:43:48.449 --> 00:43:52.090
in this one? Yes, I did not see that one coming

00:43:52.090 --> 00:43:55.190
either. What do you know, the big ape is more

00:43:55.190 --> 00:43:59.090
of a curious cameo than even a subplot. The whole

00:43:59.090 --> 00:44:02.869
film is meandering, confusing, and paced so slowly

00:44:02.869 --> 00:44:06.869
you may find yourself checking the time. Well,

00:44:06.889 --> 00:44:09.650
that's it for now. And I thank you for listening

00:44:09.650 --> 00:44:12.289
and for all the support. I think next time we

00:44:12.289 --> 00:44:15.269
will discuss my fellow horror actor, that man

00:44:15.269 --> 00:44:18.730
with the acromagaly, Rondo Hatton, in a little

00:44:18.730 --> 00:44:23.610
film called The Brute Man. Yes, well, acromagaly

00:44:23.610 --> 00:44:26.929
does factor again as a sinister storyline, but

00:44:26.929 --> 00:44:29.909
does the Brute Man out -disfigure the monster

00:44:29.909 --> 00:44:34.210
maker? Stay tuned to find out. And raise a glass

00:44:34.210 --> 00:44:38.329
until then, to this autumnal season of Monsters

00:44:38.329 --> 00:44:48.429
and Mad Men. But another friend of the pod is

00:44:48.429 --> 00:44:53.250
Mr. Peter Lorre, and he's going to cover a 1946

00:44:53.250 --> 00:44:58.489
poverty row film called The Brute Man. And as

00:44:58.489 --> 00:45:03.309
Letterboxd says, it is about a facially disfigured

00:45:03.309 --> 00:45:06.489
and mentally unhinged man who wreaks his revenge

00:45:06.489 --> 00:45:09.909
on those he blames for his condition. That actually

00:45:09.909 --> 00:45:11.570
kind of sounds like the Phantom of the Opera,

00:45:11.690 --> 00:45:16.750
but I guess nothing is new. In horror films.

00:45:17.110 --> 00:45:33.070
But I'll let Mr. Lurie take that one away. Welcome

00:45:33.070 --> 00:45:36.789
to the Poverty Row Studios on the other side

00:45:36.789 --> 00:45:40.150
of Hollywood, where the stars were dimmer and

00:45:40.150 --> 00:45:43.309
the red carpets dripped with blood. Together

00:45:43.309 --> 00:45:46.389
we will watch the best of the worst. All movies

00:45:46.389 --> 00:45:49.610
known for their limited budgets, their outlandish

00:45:49.610 --> 00:45:52.829
concepts, and questionable performances. But

00:45:52.829 --> 00:45:56.309
with enough haunted houses, zombies, ape men,

00:45:56.449 --> 00:46:00.050
and devil bats to keep you up at night. This

00:46:00.050 --> 00:46:04.849
is the Poverty Row Picture Show. And I dare you

00:46:04.849 --> 00:46:13.329
to sleep through these nightmares. Open here

00:46:13.329 --> 00:46:16.130
I flung the shutter, when, with many a flirt

00:46:16.130 --> 00:46:19.250
and flutter, in there stepped a stately raven

00:46:19.250 --> 00:46:23.869
of the saintly days of yore. Not the least obeisance

00:46:23.869 --> 00:46:28.230
made he, not a minute stopped or stayed he, but

00:46:28.230 --> 00:46:31.829
with mean of lord or lady, perched above my chamber

00:46:31.829 --> 00:46:36.449
door, perched upon a bust of palace, just above

00:46:36.449 --> 00:46:39.869
my chamber door, perched and sat and nothing

00:46:39.869 --> 00:46:44.400
more. Oh! Oh, you startled me, listeners. Oh,

00:46:44.579 --> 00:46:49.260
well, will you excuse me while I close my Edgar

00:46:49.260 --> 00:46:55.000
Allan Poe's copy of The Raven? Yes, it is not

00:46:55.000 --> 00:46:58.380
so bizarre a thing for a man to do alone in the

00:46:58.380 --> 00:47:02.219
basement of his home. Sorry, Vincent's home.

00:47:02.500 --> 00:47:06.369
No, no, no, dear listeners. I swear this is just

00:47:06.369 --> 00:47:11.449
a book, a little velvet cover with a little bookmark.

00:47:11.530 --> 00:47:14.849
But I digress. I would like to tell you that

00:47:14.849 --> 00:47:17.570
I was in the movie called The Raven for Roger

00:47:17.570 --> 00:47:20.250
Corman. Yes, dear listeners, so it all makes

00:47:20.250 --> 00:47:26.710
sense now. Well, well, okay, here we go. Tonight

00:47:26.710 --> 00:47:29.690
on the Poverty Row Picture Show, we will discuss

00:47:29.690 --> 00:47:34.869
the 1944 movie The Brute Man starring... Rondo

00:47:34.869 --> 00:47:39.610
Hatton as The Creeper. Yes, The Creeper is a

00:47:39.610 --> 00:47:42.730
back -breaking psychomaniac from a series of

00:47:42.730 --> 00:47:47.070
Universal horror chillers in the 40s. Now, the

00:47:47.070 --> 00:47:50.710
actor, Rondo Hatton, was a man who suffered from

00:47:50.710 --> 00:47:54.090
acromagaly in real life. This is the glandular

00:47:54.090 --> 00:47:56.909
disorder that enlarges the face and the limbs.

00:47:58.289 --> 00:48:02.030
And for better or worse... Hatton puts his mean

00:48:02.030 --> 00:48:05.550
mug to work for Hollywood. At Universal, his

00:48:05.550 --> 00:48:08.829
Creeper character was featured in The Pearl of

00:48:08.829 --> 00:48:12.809
Death, House of Horrors, and The Brute Man. This

00:48:12.809 --> 00:48:15.550
latter picture would prove Hatton's swan song.

00:48:16.070 --> 00:48:20.070
Sadly, the actor died from his acromagaly six

00:48:20.070 --> 00:48:22.489
months before the release of the film itself.

00:48:23.409 --> 00:48:26.630
Fittingly, the movie, The Brute Man, treats the

00:48:26.630 --> 00:48:30.269
Creeper with a newfound sense of sympathy. I

00:48:30.269 --> 00:48:33.610
mean, his crimes, as heinous as they are, you

00:48:33.610 --> 00:48:36.030
can't help but feel for the guy. He's just a

00:48:36.030 --> 00:48:40.369
serial murderer who's just misunderstood. Lastly,

00:48:40.489 --> 00:48:42.829
it should be noted that the film was produced

00:48:42.829 --> 00:48:46.469
by Universal Studios and sold to the poverty

00:48:46.469 --> 00:48:50.710
row company PRC for distribution. At this time

00:48:50.710 --> 00:48:54.869
in 1944, Universal was on the verge of a merge.

00:48:55.309 --> 00:48:57.530
with international pictures, so they were kind

00:48:57.530 --> 00:49:00.429
of dumping all their B -movies off on the smaller

00:49:00.429 --> 00:49:04.230
studios in favor of more, quote, prestige productions.

00:49:04.710 --> 00:49:08.550
Yes, yes, well, well, well, well, be that as

00:49:08.550 --> 00:49:11.170
it may, next time we will get back to scraping

00:49:11.170 --> 00:49:14.369
the bottom of the B -barrel with Return of the

00:49:14.369 --> 00:49:18.269
Ape Man, starring Bela Lugosi and John Carradine.

00:49:18.679 --> 00:49:22.760
Oh, my goodness, listeners. What is this outside

00:49:22.760 --> 00:49:25.940
my window? It is a winged creature of the night.

00:49:26.679 --> 00:49:31.380
Oh, my goodness. It is a raven. A raven tapping

00:49:31.380 --> 00:50:24.630
at my window. Sorry to be so mysterious, but

00:50:24.630 --> 00:50:26.750
I have no choice. Look, I don't want you to tell

00:50:26.750 --> 00:50:28.369
me anything is none of my business, but anything

00:50:28.369 --> 00:50:31.409
you're involved in is my business. Please don't

00:50:31.409 --> 00:50:45.769
ask me anymore. I think you're wrong. Wrong why?

00:50:46.130 --> 00:50:48.989
My dear Marlow, I agree with you. There's but

00:50:48.989 --> 00:50:52.420
one penalty for treachery. Slit her throat and

00:50:52.420 --> 00:50:56.579
be done with it. But the young man, after all,

00:50:56.579 --> 00:50:58.539
he's the son of the owner of the hitching slum.

00:50:58.900 --> 00:51:02.380
A millionaire. He may be worth a lot of money

00:51:02.380 --> 00:51:07.539
to us. Alive. You touch me, and I'll cut your

00:51:07.539 --> 00:51:10.739
aught out. You killed a man there. I didn't.

00:51:11.159 --> 00:51:14.019
And stuffed his brother in a wicker basket, Mr.

00:51:14.159 --> 00:51:16.719
Carson. I didn't go to kill him. He was hiding

00:51:16.719 --> 00:51:44.679
in back of the stall. as the scientist who discovered

00:51:44.679 --> 00:51:48.239
that the human brain can survive bodily destruction,

00:51:48.559 --> 00:51:52.000
can continue to function as a dynamo of living

00:51:52.000 --> 00:51:55.179
thought, generating a mental power greater than

00:51:55.179 --> 00:51:59.099
the science of man. Gene Evans, as his assistant,

00:51:59.320 --> 00:52:01.639
sharing the burden of a terrifying knowledge

00:52:01.639 --> 00:52:05.920
with ever -increasing fear and hatred. Stop that!

00:52:09.639 --> 00:52:11.980
Mr. Donovan intends to dominate the international

00:52:11.980 --> 00:52:15.539
financial scene. A fatal accident will occur

00:52:15.539 --> 00:52:19.000
to all who happen to stand in his way. Steve

00:52:19.000 --> 00:52:22.159
Brody is the reporter who probed too deeply into

00:52:22.159 --> 00:52:25.599
the beyond and received the full impact of its

00:52:25.599 --> 00:52:40.179
deadliest forces. And the same thing could happen

00:52:40.179 --> 00:52:42.860
to us. Donovan could kill us the same way he

00:52:42.860 --> 00:52:45.119
killed Yoakum. That's right. And it's too dangerous

00:52:45.119 --> 00:52:59.460
to wait any longer. Frank! Surprised? Thanks

00:52:59.460 --> 00:53:02.840
to Dr. Patrick Corey, Donovan's brain will live,

00:53:03.079 --> 00:53:06.019
thrive, and continue to grow far beyond the body

00:53:06.019 --> 00:53:09.340
of Dr. Corey. It is already able to exist in

00:53:09.340 --> 00:53:14.280
anybody, anywhere it will. Knowing this, you

00:53:14.280 --> 00:53:18.380
now know too much. Nancy Davis as the woman who

00:53:18.380 --> 00:53:21.519
was compelled to submit to the brain's satanic

00:53:21.519 --> 00:53:39.019
vibrations of evil. How's Peter doing? Sorry

00:53:39.019 --> 00:53:41.380
if I beat you to the punch there. No, that's

00:53:41.380 --> 00:53:43.059
okay. Peter, you know, he's not here tonight.

00:53:43.219 --> 00:53:46.579
He ran out to get something for a Halloween party

00:53:46.579 --> 00:53:48.760
coming up. I don't know what he's got cooking.

00:53:49.079 --> 00:53:52.000
Maybe it wouldn't agree with me anyways. But

00:53:52.000 --> 00:53:55.300
when he comes back, he is going to talk about

00:53:55.300 --> 00:54:00.699
1944's Return of the Ape Man, a Poverty Row picture

00:54:00.699 --> 00:54:04.539
starring Bela Lugosi and John Carradine. And

00:54:04.539 --> 00:54:08.280
our... Letterboxd synopsis for this one reads,

00:54:08.460 --> 00:54:11.679
the discovery of a perfectly preserved caveman

00:54:11.679 --> 00:54:15.559
prompts a mad scientist to attempt a daring brain

00:54:15.559 --> 00:54:20.179
transplant. Right there. Cavemen, mad scientists,

00:54:20.360 --> 00:54:24.119
and brain transplants. How can you go wrong?

00:54:24.239 --> 00:54:26.940
And an ape man? Who knows? They're throwing it

00:54:26.940 --> 00:54:30.099
all in there. And Bela Lugosi? It's everything

00:54:30.099 --> 00:54:31.719
you need. That's amazing. It's everything you

00:54:31.719 --> 00:54:36.699
need. Sounds good. Yeah. Scientifically valid,

00:54:36.900 --> 00:54:39.400
I'm sure. I can only guess. Well, awesome. I

00:54:39.400 --> 00:54:41.019
can't wait to hear more about that from Peter.

00:54:41.199 --> 00:54:42.880
Thank you, Peter, as always. Hope you're doing

00:54:42.880 --> 00:54:57.659
okay. Welcome to the Poverty Row Studios on the

00:54:57.659 --> 00:55:01.489
other side of Hollywood. Yes, when the stars

00:55:01.489 --> 00:55:04.650
were dimmer and the red carpets dripped with

00:55:04.650 --> 00:55:07.829
blood. Together we will watch the best of the

00:55:07.829 --> 00:55:10.789
worst, movies known for their limited budgets,

00:55:11.190 --> 00:55:14.750
outlandish concepts, and questionable performances.

00:55:15.190 --> 00:55:18.650
But with enough haunted houses, zombies, ape

00:55:18.650 --> 00:55:21.369
men, and devil bats to keep you up at night,

00:55:21.590 --> 00:55:26.110
this is the Poverty Row Picture Show, and I dare

00:55:26.110 --> 00:55:34.519
you to sleep through these nightmares. And what

00:55:34.519 --> 00:55:37.920
a nightmare my life has become. The fish heads

00:55:37.920 --> 00:55:42.039
have disappeared. Vincent does not, does not

00:55:42.039 --> 00:55:45.460
keep them in the house. Oh my goodness, I hate

00:55:45.460 --> 00:55:47.739
to say this, but I might be missing that rat

00:55:47.739 --> 00:55:52.039
bastard known as Matthew Levine. Don't panic,

00:55:52.119 --> 00:55:56.300
Peter. Let's see. What does Vincent have in here?

00:55:57.179 --> 00:56:02.739
Let me see. Oh yes, what is this? Pizza rolls.

00:56:03.869 --> 00:56:07.510
Alrighty, well, well, when in Rome, let me just

00:56:07.510 --> 00:56:11.449
pop them into this here microwave oven. Mmm,

00:56:12.030 --> 00:56:21.909
six rolls, one minute and 15 seconds. Oh, oh,

00:56:21.929 --> 00:56:26.110
oh, my, my heart, it is, it is only you. Friends,

00:56:26.150 --> 00:56:29.510
this is, this is my new animal companion, the

00:56:29.510 --> 00:56:33.980
raven. Hoo, hoo, hoo. who taps on my window and

00:56:33.980 --> 00:56:36.940
demands I recite the words to its favorite poem.

00:56:38.500 --> 00:56:44.019
Once upon a midnight dreary, while I pondered

00:56:44.019 --> 00:56:47.800
weak and weary, over many a quaint and curious

00:56:47.800 --> 00:56:52.579
volume of forgotten worry, while I nodded, nearly

00:56:52.579 --> 00:56:56.460
napping, suddenly there came a tapping, as of

00:56:56.460 --> 00:57:00.579
someone gently rapping, rapping at my chamber

00:57:00.579 --> 00:57:05.030
door. "'Tis a visitor,' I muttered, tapping at

00:57:05.030 --> 00:57:09.449
my chamber door. Only this and nothing more.

00:57:10.090 --> 00:57:13.590
There, there it is. Raven friend, you only get

00:57:13.590 --> 00:57:17.750
one stanza an episode. Now I scratched your little

00:57:17.750 --> 00:57:21.570
flea -bitten back, and now you must help me review

00:57:21.570 --> 00:57:27.719
my own bit of art. Return of the Ape Man. Yes,

00:57:27.739 --> 00:57:31.960
a 1944 Bela Lugosi film from Monogram Pictures.

00:57:32.320 --> 00:57:35.820
Now this movie, believe it or not, is not a sequel

00:57:35.820 --> 00:57:40.440
to Lugosi's earlier film, The Ape Man, in which

00:57:40.440 --> 00:57:43.420
he plays a wayward scientist who inadvertently

00:57:43.420 --> 00:57:46.960
turns himself into a gorilla. No, no, no, this

00:57:46.960 --> 00:57:51.179
picture is way more serious. Yes, it is about

00:57:51.179 --> 00:57:55.480
a mad scientist who uncovers a caveman and a

00:57:55.480 --> 00:57:58.960
block of ice. After the prehistoric man is thawed,

00:57:59.079 --> 00:58:02.179
Lugosi takes the brain of his assistant, played

00:58:02.179 --> 00:58:05.619
by John Carradine, and places it in the caveman.

00:58:05.880 --> 00:58:10.699
Yes, now things really start to rock as Lugosi

00:58:10.699 --> 00:58:17.679
bids the caveman do his nefarious bidding. Perhaps

00:58:17.679 --> 00:58:20.920
because of the ludicrous concept, Return of the

00:58:20.920 --> 00:58:26.039
Ape Man absolutely works as a bit of camp. Thrills.

00:58:26.039 --> 00:58:29.159
Yes, the camp is off the charts with this one,

00:58:29.239 --> 00:58:32.260
and it moves briskly through its 60 -minute runtime.

00:58:32.639 --> 00:58:36.519
Not a comedy, mind you. No, no, just a serious

00:58:36.519 --> 00:58:40.099
movie about the caveman with the brain of a scientist.

00:58:40.099 --> 00:58:43.679
What could be better? Now, now, it is not often

00:58:43.679 --> 00:58:48.300
that I give the old stamp of glory to a picture

00:58:48.300 --> 00:58:51.039
on this here show, but old Peter Lorre here,

00:58:51.179 --> 00:58:54.829
he's gonna do it. Next time on the show. We will

00:58:54.829 --> 00:58:58.889
discuss another 1944 film called The Girl Who

00:58:58.889 --> 00:59:02.909
Dared. Do ye press play on this bad mamma jamma?

00:59:03.289 --> 00:59:07.150
Oh, yes, well, if you will excuse me, listeners,

00:59:07.429 --> 00:59:11.429
pizza rolls are ready. Let's see what this is

00:59:11.429 --> 00:59:17.409
all about. Ow, ow, ow, ow, hot, hot, hot. Oh,

00:59:17.889 --> 00:59:23.710
Peter Lorre. He was at the Halloween party. He

00:59:23.710 --> 00:59:28.170
was busting a move. He got a hold of some sort

00:59:28.170 --> 00:59:33.530
of jack -o' -lantern alcohol pumpkin thingamajig

00:59:33.530 --> 00:59:36.690
that he was drinking all night. I still haven't

00:59:36.690 --> 00:59:39.690
seen him. That was two weeks ago. He had to disappear

00:59:39.690 --> 00:59:42.750
for a little bit. But it was great. It was great

00:59:42.750 --> 00:59:46.210
fun. Wish he could have been there. Yeah, I wish

00:59:46.210 --> 00:59:48.489
I could have too. It's hard to imagine Peter

00:59:48.489 --> 00:59:50.230
Lorre cutting a rug, but that must have been

00:59:50.230 --> 00:59:55.489
something. He got down with all the mobsters

00:59:55.489 --> 01:00:00.190
that night. Man, it was just like a universal

01:00:00.190 --> 01:00:05.570
reunion at your house, I bet. I had a little,

01:00:05.630 --> 01:00:09.230
I had my VCR TV here. I had it set up in the

01:00:09.230 --> 01:00:13.210
kitchen, a little corner, like RIP to VHS corner.

01:00:13.670 --> 01:00:17.030
Cool. And people could just, the idea was people

01:00:17.030 --> 01:00:21.650
could play whatever tapes were available. nice

01:00:21.650 --> 01:00:25.530
at their leisure uh we ended up i put in young

01:00:25.530 --> 01:00:28.289
frankenstein to start the night and then it was

01:00:28.289 --> 01:00:30.409
really funny because me and gary and some others

01:00:30.409 --> 01:00:33.030
you go get a beer in the fridge and then you

01:00:33.030 --> 01:00:35.449
you find yourself just watching young frankenstein

01:00:35.449 --> 01:00:38.969
for five minutes yeah that's a good choice young

01:00:38.969 --> 01:00:42.510
frankenstein's awesome yeah whenever that's on

01:00:42.510 --> 01:00:44.869
like tv or whatever like you can't pull yourself

01:00:44.869 --> 01:00:48.860
away from it you know yeah That's cool. What

01:00:48.860 --> 01:00:51.480
else did other people play on VHS that night?

01:00:52.000 --> 01:00:54.119
Actually, a friend of mine wanted to play the

01:00:54.119 --> 01:00:58.199
thing, the 1951 thing. Oh, nice. But then it

01:00:58.199 --> 01:01:01.599
wasn't working because the tape was locked. If

01:01:01.599 --> 01:01:04.820
you recall the tapes, they'd have like a little

01:01:04.820 --> 01:01:08.559
lock button mechanism on the side. Yeah, kind

01:01:08.559 --> 01:01:09.920
of forgot about that till right now. Yeah, so

01:01:09.920 --> 01:01:13.079
we had to fiddle with that and then just pivoted

01:01:13.079 --> 01:01:16.090
and put in Bride of Frankenstein. Oh, Bride of

01:01:16.090 --> 01:01:17.650
Frankstein, one of my favorites. That's a great

01:01:17.650 --> 01:01:21.929
choice. Yeah. Cool. Did you have any games or

01:01:21.929 --> 01:01:25.769
activities or anything that night? Yes. Eyes

01:01:25.769 --> 01:01:29.230
of the Phantom of the Opera hosted a night of

01:01:29.230 --> 01:01:33.409
fate and madness. So I concocted some games,

01:01:33.610 --> 01:01:37.050
three rounds of games, like a dance of doom,

01:01:37.130 --> 01:01:39.639
I called it, where everyone had to dance. And

01:01:39.639 --> 01:01:41.679
I called out people who kept moving after I stopped

01:01:41.679 --> 01:01:46.280
the music. I whittled them down to three. And

01:01:46.280 --> 01:01:49.719
then the three of them had to complete the lyrics

01:01:49.719 --> 01:01:52.460
to the monster mash the best of their ability.

01:01:54.239 --> 01:01:57.059
That's amazing. I'd be terrible at that. And

01:01:57.059 --> 01:02:00.000
then the final two, it was like a relay race.

01:02:00.179 --> 01:02:03.559
I have like a little toy heart that I had placed

01:02:03.559 --> 01:02:06.019
in a hidden box and they had to find the phantom's

01:02:06.019 --> 01:02:08.530
heart and bring it back to me. Oh, man, that's

01:02:08.530 --> 01:02:12.929
awesome. You're really good at party planning.

01:02:13.369 --> 01:02:16.230
That's creative. I love that. Thank you. It was

01:02:16.230 --> 01:02:21.670
very silly. I led each round with a quote from

01:02:21.670 --> 01:02:28.429
the 1925 movie. Cool. Including the one you mentioned

01:02:28.429 --> 01:02:32.349
in our episode. Like a toad, I secrete the venom.

01:02:33.280 --> 01:02:36.139
Something, something, something. Yeah. I was

01:02:36.139 --> 01:02:38.760
trying to remember what it was. Yeah. It rings

01:02:38.760 --> 01:02:43.300
a bell. When I said that, there was an audible

01:02:43.300 --> 01:02:48.920
visceral reaction from the party goers. I love

01:02:48.920 --> 01:02:51.039
it. It's 100 years old and it still holds up.

01:02:51.320 --> 01:02:57.599
Yeah. They're like, what? In the what? That's

01:02:57.599 --> 01:03:02.789
the correct response, I would say. That probably

01:03:02.789 --> 01:03:05.130
sounded way cooler in that character's head before

01:03:05.130 --> 01:03:07.670
he said it out loud, you know, in a silent movie

01:03:07.670 --> 01:03:10.070
or whatever. But it's such a weird, weird choice

01:03:10.070 --> 01:03:14.289
for dialogue. Back on track. The Girl Who Dared

01:03:14.289 --> 01:03:21.010
from 1944. Our letterboxd synopsis reads, A group

01:03:21.010 --> 01:03:23.429
of people are invited to a party at a creepy

01:03:23.429 --> 01:03:26.570
mansion where legend has it a ghost appears once

01:03:26.570 --> 01:03:30.670
a year. And the tagline of the film is your blood

01:03:30.670 --> 01:03:34.050
will run cold. It's got those chills and thrills,

01:03:34.050 --> 01:03:39.170
chills and thrills. Nice. The girl who dared.

01:03:39.949 --> 01:03:41.949
Sounds good. Kind of sounds like the house on

01:03:41.949 --> 01:03:45.050
Haunted Hill a little bit. Yeah, a little bit.

01:03:45.409 --> 01:03:48.869
We'll see. Can't wait to watch that and hear

01:03:48.869 --> 01:03:52.630
Peter Lorre's take. Yeah, if he can find him

01:03:52.630 --> 01:03:54.530
and like if he's not still on a bender, you know.

01:03:54.880 --> 01:03:57.599
Well, that's that's always the catch, isn't it?

01:03:57.599 --> 01:03:59.300
I don't know how you lived with the guy for a

01:03:59.300 --> 01:04:03.179
year. Oh, man, I'm glad he's not here anymore.

01:04:03.280 --> 01:04:05.480
Like I'm, you know, good riddance. I wash my

01:04:05.480 --> 01:04:08.559
hands of him. Yeah, man, I didn't know you held

01:04:08.559 --> 01:04:12.340
grudges like this, but. Oh, yeah. Yeah. No, the

01:04:12.340 --> 01:04:14.239
next time I see Peter, it is not going to go

01:04:14.239 --> 01:04:30.800
well. I'll just say that. Yikes. Welcome to the

01:04:30.800 --> 01:04:33.960
Poverty Row Studios on the other side of Hollywood,

01:04:34.300 --> 01:04:37.280
where the stars were dimmer and the red carpets

01:04:37.280 --> 01:04:40.519
dripped with blood. Together we will watch the

01:04:40.519 --> 01:04:43.860
best of the worst. Movies known for their limited

01:04:43.860 --> 01:04:47.340
budgets, outlandish concepts, and questionable

01:04:47.340 --> 01:04:50.199
performances, but with enough haunted houses,

01:04:50.480 --> 01:04:53.780
zombies, ape men, and devil bats to keep you

01:04:53.780 --> 01:04:57.900
up at night. Yes, yes. This is the Poverty Row

01:04:57.900 --> 01:05:01.139
Picture Show, and I dare you to sleep through

01:05:01.139 --> 01:05:10.559
these nightmares. Oh, my aching pirate's booty.

01:05:10.900 --> 01:05:14.659
What a couple of weeks it has been. Friends,

01:05:14.679 --> 01:05:18.880
I am sorely, sorely deeply sorry for my behavior

01:05:18.880 --> 01:05:22.800
at Vincent's Halloween party. Yes, I do not even

01:05:22.800 --> 01:05:25.820
remember leaving, but I do remember waking up

01:05:25.820 --> 01:05:29.320
on this beach. Yes, the crashing waves were a

01:05:29.320 --> 01:05:33.260
cold and crude wake -up call. And as I sat there,

01:05:33.300 --> 01:05:36.579
sat there holding my troublesome temples in my

01:05:36.579 --> 01:05:40.679
hands, my costume clinging to my perfectly sculpted

01:05:40.679 --> 01:05:45.500
body, a shadow appeared over me. I looked up

01:05:45.500 --> 01:05:48.460
into the beaming sun and saw reflected in the

01:05:48.460 --> 01:05:53.880
sun the raven circling up above. It called, it

01:05:53.880 --> 01:05:57.000
called to me, demanding the continuance of the

01:05:57.000 --> 01:06:00.860
poem. Well, well, I have never been one to disappoint

01:06:00.860 --> 01:06:04.820
an audience, so, so there, on the pebbles, I

01:06:04.820 --> 01:06:10.440
began the words. Ah, distinctly I remember it

01:06:10.440 --> 01:06:13.929
was In the bleak December, and each separate

01:06:13.929 --> 01:06:16.949
dying amber wrought its ghost upon the floor,

01:06:17.190 --> 01:06:21.570
eagerly I wished the morrow, vainly I had sought

01:06:21.570 --> 01:06:24.630
to borrow from my book's surcease of sorrow,

01:06:24.769 --> 01:06:29.050
sorrow for the lost Lenore, for the rare and

01:06:29.050 --> 01:06:33.449
radiant maiden whom the angels name Lenore, nameless

01:06:33.449 --> 01:06:38.829
here forevermore. and the silken sad uncertain

01:06:38.829 --> 01:06:42.989
rustling of each purple curtain thrilled me filled

01:06:42.989 --> 01:06:46.909
me with fantastic terrors never felt before so

01:06:46.909 --> 01:06:50.710
that now to still the beating of my heart i stood

01:06:50.710 --> 01:06:55.030
up i stood repeating tis some visitor entreating

01:06:55.030 --> 01:06:58.849
entrance at my chamber door some late visitor

01:06:58.849 --> 01:07:03.429
entreating entrance at my chamber door this it

01:07:03.429 --> 01:07:08.650
is and nothing more Presently my soul grew stronger,

01:07:08.969 --> 01:07:13.570
hesitating then no longer. Sir, I said, or madam,

01:07:13.750 --> 01:07:17.329
truly your forgiveness I implore, but the fact

01:07:17.329 --> 01:07:21.130
is I was napping, and so gently you came rapping,

01:07:21.409 --> 01:07:24.849
and so faintly you came tapping, tapping at my

01:07:24.849 --> 01:07:27.929
chamber door that I scarce was sure I heard you.

01:07:28.309 --> 01:07:34.269
Here I open wide the door. Darkness there, and

01:07:34.269 --> 01:07:38.880
nothing more. Deep into that darkness peering,

01:07:38.980 --> 01:07:43.460
long I stood there wondering, fearing, doubting,

01:07:43.460 --> 01:07:46.900
dreaming dreams no mortal ever dared to dream

01:07:46.900 --> 01:07:51.880
before. But the silence was unbroken, and the

01:07:51.880 --> 01:07:56.179
stillness gave no token, and the only word there

01:07:56.179 --> 01:08:01.659
spoken was the whispered word, Lenore. This I

01:08:01.659 --> 01:08:04.880
whispered, and an echo murmured back the word.

01:08:05.289 --> 01:08:10.590
Lenore, merely this and nothing more. Back into

01:08:10.590 --> 01:08:14.250
the chamber turning, all my soul within me burning.

01:08:14.550 --> 01:08:18.609
Soon again I heard a tapping somewhat louder

01:08:18.609 --> 01:08:22.310
than before. Surely, I said, surely that this

01:08:22.310 --> 01:08:25.970
is something at my window lattice. Let me see

01:08:25.970 --> 01:08:29.149
then what thereat is, and this mystery explore.

01:08:29.210 --> 01:08:31.810
Let my heart be still a moment, and this mystery

01:08:31.810 --> 01:08:38.090
explore. Tis the wind and nothing more. And then

01:08:38.090 --> 01:08:43.810
I woke up. And my raven companion led me back

01:08:43.810 --> 01:08:48.029
to my basement dwelling in Vincent's home. And

01:08:48.029 --> 01:08:52.869
there waiting for me was my life's work. A box

01:08:52.869 --> 01:08:57.470
of Poverty Row video cassettes. And lying on

01:08:57.470 --> 01:09:03.850
top, Republic's 1944 picture, The Girl Who Dared.

01:09:04.710 --> 01:09:09.039
This film, This film is a typical old dark house

01:09:09.039 --> 01:09:12.439
whodunit, but at the brisk 56 minutes, it is

01:09:12.439 --> 01:09:16.060
enjoyable enough. Yes, the action begins with

01:09:16.060 --> 01:09:18.659
a party of socialites who have gathered at a

01:09:18.659 --> 01:09:22.640
remote seaside home for a ghost hunt. Out on

01:09:22.640 --> 01:09:25.859
the beach, amidst the crashing waves, is a pirate

01:09:25.859 --> 01:09:29.500
ship haunted by the spirit of a buccaneer. Sadly,

01:09:29.880 --> 01:09:32.989
this does not go anywhere, but... There remains

01:09:32.989 --> 01:09:35.630
a mystery to be solved worthy of Scooby -Doo

01:09:35.630 --> 01:09:38.609
and the gang, so listeners, check out The Girl

01:09:38.609 --> 01:09:43.210
Who Dared for an easy, albeit slightly forgettable,

01:09:43.210 --> 01:09:47.329
little thriller. But next week, on the Poverty

01:09:47.329 --> 01:09:50.710
Row Picture Show, uh -huh, yes, yes, we are talking

01:09:50.710 --> 01:09:53.590
killer brains. Yes, killer brains are on the

01:09:53.590 --> 01:10:07.309
loose. In 1944's The Lady and the Monster. Now,

01:10:07.309 --> 01:10:10.789
the Poverty Row Picture Show, Peter Lorre is

01:10:10.789 --> 01:10:15.829
back. He is in the next room. He's passed out.

01:10:16.430 --> 01:10:20.050
So, you know, guys, say what you want while he's

01:10:20.050 --> 01:10:24.949
asleep. But he will be talking about a 1944 movie

01:10:24.949 --> 01:10:28.390
called The Lady and the Monster about a millionaire's

01:10:28.390 --> 01:10:31.149
brain that is preserved after his death by a

01:10:31.149 --> 01:10:36.710
scientist. And this brain. becomes so powerful

01:10:36.710 --> 01:10:40.130
that it it creates a telepathic monster like

01:10:40.130 --> 01:10:43.810
the brain transfers its energy into a human being

01:10:43.810 --> 01:10:48.989
and runs amok wow that sounds cool that reminds

01:10:48.989 --> 01:10:51.409
me of fiend without a face a little bit it does

01:10:51.409 --> 01:10:55.170
doesn't it yeah yeah the real quick real quick

01:10:55.170 --> 01:10:58.090
this movie is an adaptation of a kurt siad mcnovel

01:10:58.090 --> 01:11:01.289
called donovan's brain which was adapted several

01:11:01.289 --> 01:11:05.039
times into films But I just read Donovan's Brain

01:11:05.039 --> 01:11:08.300
and can't say enough about it as a pulpy horror

01:11:08.300 --> 01:11:13.020
piece of fiction. It's really effective. Cool.

01:11:13.920 --> 01:11:16.220
Maybe we should do more like very brief book

01:11:16.220 --> 01:11:18.420
reviews on the podcast. That'd be kind of fun.

01:11:19.500 --> 01:11:24.630
Maybe a Patreon perk. Yeah. Oh, I'm kind of excited

01:11:24.630 --> 01:11:26.909
about that now. There's a book that I bought

01:11:26.909 --> 01:11:29.369
recently called The Paleontologist that's like,

01:11:29.510 --> 01:11:32.109
you know, a paperback, you know, Paige Turner

01:11:32.109 --> 01:11:34.470
sort of thriller. Definitely a monster story.

01:11:34.590 --> 01:11:36.649
So maybe I'll bring that to the pod next time.

01:11:36.850 --> 01:11:53.800
All right. We can do a book club. To the Poverty

01:11:53.800 --> 01:11:57.939
Row Studios on the other side of Hollywood. Yes,

01:11:58.079 --> 01:12:00.460
when the stars were dimmer and the red carpets

01:12:00.460 --> 01:12:03.760
dripped with blood. Together, we will watch the

01:12:03.760 --> 01:12:06.720
best of the worst. Movies known for their limited

01:12:06.720 --> 01:12:09.859
budgets, outlandish concepts, and questionable

01:12:09.859 --> 01:12:13.000
performances. But with enough haunted houses,

01:12:13.239 --> 01:12:16.479
zombies, ape men, and devil bats to keep you

01:12:16.479 --> 01:12:20.220
up at night. This is the Poverty Row Picture

01:12:20.220 --> 01:12:23.390
Show. and I dare you to sleep through these nightmares.

01:12:26.649 --> 01:12:30.050
And oh, what a waking nightmare my life has become.

01:12:30.289 --> 01:12:33.829
The mysterious and lovely raven that had been

01:12:33.829 --> 01:12:37.409
a -tap -tap -tapping on my window has now laid

01:12:37.409 --> 01:12:40.510
claim to my bedroom. Like a harpy of the night,

01:12:40.550 --> 01:12:43.869
this raven has proven somewhat irresistible to

01:12:43.869 --> 01:12:47.590
my heart. It sounds a little strange, I understand,

01:12:47.729 --> 01:12:51.699
but listeners, I may be falling for this raven.

01:12:52.260 --> 01:12:55.079
Hell, you would do too if you saw the way this

01:12:55.079 --> 01:12:59.659
bird shines with a certain primordial effervescence.

01:13:00.199 --> 01:13:05.439
But whoo -wee! She is a ravenous raven and demands

01:13:05.439 --> 01:13:08.979
that I continue the poetry that calls to her

01:13:08.979 --> 01:13:16.300
beating heart. Open here I flung the shutter,

01:13:16.439 --> 01:13:19.460
when with many a flirt and flutter, in there

01:13:19.460 --> 01:13:22.859
stepped a stately raven of the saintly days of

01:13:22.859 --> 01:13:27.159
yore. Not the least obeisance made he, not the

01:13:27.159 --> 01:13:30.180
minute stopped or stayed he, but with mean of

01:13:30.180 --> 01:13:34.340
lord or lady, perched upon my chamber door, perched

01:13:34.340 --> 01:13:37.479
upon a bustle palace just above my chamber door,

01:13:37.560 --> 01:13:41.500
perched and sat, and nothing more. Then this

01:13:41.500 --> 01:13:45.340
ebony bird beguiling my sad fancy into smiling

01:13:45.340 --> 01:13:49.060
by the grave and stern decorum of the countenance

01:13:49.060 --> 01:13:53.020
I wore. Though thy crest be shorn and shaven

01:13:53.020 --> 01:13:57.000
thou, I said, art sure no craven ghastly grim

01:13:57.000 --> 01:13:59.600
and ancient raven wandering from the nightly

01:13:59.600 --> 01:14:03.680
shore. Tell me what thy lordly name is on the

01:14:03.680 --> 01:14:09.340
night's plutonian shore. Woth the raven nevermore.

01:14:10.189 --> 01:14:14.789
Much I marveled this ungainly fowl to hear discourse

01:14:14.789 --> 01:14:18.210
so plainly, though its answer little meaning,

01:14:18.390 --> 01:14:22.529
little relevancy bore, for we cannot help agreeing

01:14:22.529 --> 01:14:25.909
that no living human being ever yet was blessed

01:14:25.909 --> 01:14:29.670
with seeing bird above his chamber door, bird

01:14:29.670 --> 01:14:33.090
or beast upon the sculptured bust upon his chamber

01:14:33.090 --> 01:14:37.970
door with such name as nevermore. But the raven,

01:14:38.319 --> 01:14:41.460
sitting lonely on the placid bust, spoke only

01:14:41.460 --> 01:14:45.380
that one word, as if his soul in that one word

01:14:45.380 --> 01:14:49.819
he did outpour. Nothing farther than he uttered,

01:14:49.819 --> 01:14:53.840
not a feather than he fluttered, till I scarcely

01:14:53.840 --> 01:14:56.800
more than muttered, utter friends have flown

01:14:56.800 --> 01:14:59.939
before, on the morrow he will leave me as my

01:14:59.939 --> 01:15:03.640
hopes have flown before. Then the bird said,

01:15:04.020 --> 01:15:08.750
never more. Startled at the stillness broken

01:15:08.750 --> 01:15:12.329
by replies so aptly spoken, doubtless I said,

01:15:12.510 --> 01:15:15.770
what it utters is its only stock in store caught

01:15:15.770 --> 01:15:18.789
from some unhappy master whom unmerciful disaster

01:15:18.789 --> 01:15:21.430
followed fast and followed faster till his songs

01:15:21.430 --> 01:15:25.069
one burden bore, till the dirges of his hope

01:15:25.069 --> 01:15:30.590
that melancholy burden bore of never, nevermore.

01:15:32.270 --> 01:15:35.750
but the raven still beguiling all my fancy into

01:15:35.750 --> 01:15:39.130
smiling straight i wheeled a cushioned seat in

01:15:39.130 --> 01:15:45.850
front of bird and bust and door then then upon

01:15:45.850 --> 01:15:49.729
the velvet sinking i betook myself to to linking

01:15:50.600 --> 01:15:53.479
Fancy unto fancy, thinking that this ominous

01:15:53.479 --> 01:15:57.279
bird of yore, what this grim, ungainly, ghastly,

01:15:57.279 --> 01:16:01.060
gaunt and ominous bird of yore, meant in croaking

01:16:01.060 --> 01:16:05.640
nevermore. Now leave me, Raven. Please, please,

01:16:05.720 --> 01:16:09.479
you must leave me to my reviews. Poverty Row

01:16:09.479 --> 01:16:12.859
Movies must get out there to the listeners. Oh,

01:16:12.960 --> 01:16:15.819
how you torture me so, but I have a job to do.

01:16:16.279 --> 01:16:20.090
All right. Alright, thank you. Okay, listeners,

01:16:20.229 --> 01:16:23.189
I am all yours now. And boy, do we have a brain

01:16:23.189 --> 01:16:27.329
teaser of a film this week. 1944's The Lady and

01:16:27.329 --> 01:16:31.050
the Monster from Republic Pictures. This movie

01:16:31.050 --> 01:16:34.229
is an adaptation of the Curt Siodmak's sci -fi

01:16:34.229 --> 01:16:37.569
novel Donovan's Brain, in which the disembodied

01:16:37.569 --> 01:16:40.949
cerebellum gallopantically controls an unwitting

01:16:40.949 --> 01:16:44.890
scientist to do his nefarious bidding. The Lady

01:16:44.890 --> 01:16:47.529
and the Monster largely sticks... to the source

01:16:47.529 --> 01:16:50.829
material, but has a few cinematic flourishes.

01:16:50.850 --> 01:16:54.649
You know, a dance number here, film noir shadows

01:16:54.649 --> 01:16:58.189
there. It's really not a bad little chiller,

01:16:58.270 --> 01:17:01.630
with brutal performances from Eric Von Stroheim

01:17:01.630 --> 01:17:05.590
and Richard Arlen. As for the brain, you could

01:17:05.590 --> 01:17:08.989
say it's got a lot of nerve in this picture.

01:17:10.630 --> 01:17:13.710
Oh, well, what do you know about Un, my beautiful

01:17:13.710 --> 01:17:23.020
raven? You, you're having a mental block. Peter

01:17:23.020 --> 01:17:31.000
Lorre, he's been on a wild ride, guys. He has

01:17:31.000 --> 01:17:36.119
been, well, he's in a room next to me. He's been

01:17:36.119 --> 01:17:40.300
talking, I think, to a raven. A raven, some kind

01:17:40.300 --> 01:17:44.810
of bird is cawing to him. And he is reciting

01:17:44.810 --> 01:17:49.670
the poem, The Raven. There's some weird things

01:17:49.670 --> 01:17:52.409
happening. I try not to ask. I let him do his

01:17:52.409 --> 01:17:56.109
thing. Wait, wait, wait. Is the raven calling

01:17:56.109 --> 01:18:02.329
the raven to him? To be determined. I need to

01:18:02.329 --> 01:18:06.090
hear this. I'm clear. Maybe it's not Peter who's

01:18:06.090 --> 01:18:09.390
going mad, but Vincent. Oh, don't put that on

01:18:09.390 --> 01:18:17.939
me. He's going Stark Raven mad. Oh, I like that.

01:18:18.500 --> 01:18:21.859
What? What is this? This madness you speak of?

01:18:23.579 --> 01:18:27.220
Did Peter Laurie ever exist or was it always

01:18:27.220 --> 01:18:32.159
me? I can't tell anymore. So many plot twists

01:18:32.159 --> 01:18:34.420
in this episode. Are you the you that's really

01:18:34.420 --> 01:18:40.220
you? Well, well. Well, well, well. Peter Lorre

01:18:40.220 --> 01:18:42.340
is going to talk about a 1944 picture called

01:18:42.340 --> 01:18:45.840
Crazy Nights. And our Letterboxd synopsis reads,

01:18:46.079 --> 01:18:49.600
Three crack -brained clowns trapped in a haunted

01:18:49.600 --> 01:18:53.279
house with a runaway gorilla. Oh, my God. Also

01:18:53.279 --> 01:18:56.640
known as Ghost Crazy, three goofballs run up

01:18:56.640 --> 01:18:59.039
against ghosts and a giant gorilla in a haunted

01:18:59.039 --> 01:19:02.619
house. With Shemp Howard of the Three Stooges.

01:19:03.810 --> 01:19:06.130
Oh, does it only have Shemp or are the other

01:19:06.130 --> 01:19:08.229
three stooges in it as well? I think it's just

01:19:08.229 --> 01:19:12.890
Shemp. Weird. Okay. That's the weirdest thing,

01:19:12.970 --> 01:19:15.569
Matt, you took from that synopsis? Not the crack

01:19:15.569 --> 01:19:19.369
brain clowns. Good point. I'm so used to these

01:19:19.369 --> 01:19:22.649
like, you know, weird old kaiju movie or not

01:19:22.649 --> 01:19:25.829
kaiju, but just monster movie synopses. It's

01:19:25.829 --> 01:19:27.609
like, yeah, that sounds about right. That's not

01:19:27.609 --> 01:19:29.489
surprising to me. Shemp Howard, what's going

01:19:29.489 --> 01:19:34.560
on here? that's where I'm at with monster movies

01:19:34.560 --> 01:19:37.500
these days you can only handle so much weird

01:19:37.500 --> 01:19:40.979
until it becomes normal yeah exactly that's also

01:19:40.979 --> 01:20:00.229
going on a tote bag I love it Welcome to the

01:20:00.229 --> 01:20:02.890
Poverty Row Studios on the other side of Hollywood.

01:20:03.189 --> 01:20:05.529
Yes, where the stars were dimmer and the red

01:20:05.529 --> 01:20:08.430
carpets were dripped with blood. Together we

01:20:08.430 --> 01:20:10.949
will watch the best of the worst. Movies known

01:20:10.949 --> 01:20:13.869
for their limited budgets, outlandish concepts,

01:20:14.029 --> 01:20:16.789
and questionable performances. But with enough

01:20:16.789 --> 01:20:20.350
haunted houses, ape men, devil bats, and zombies

01:20:20.350 --> 01:20:24.130
to keep you up at night. This is the Poverty

01:20:24.130 --> 01:20:27.670
Row Picture Show. And I... Dare you to sleep

01:20:27.670 --> 01:20:34.409
through these nightmares. It has been quite a

01:20:34.409 --> 01:20:38.270
doozy here, though I am dead. It appears I cannot

01:20:38.270 --> 01:20:42.869
entirely shuffle off the mortal coils that remind

01:20:42.869 --> 01:20:46.670
me of my humanity. Well, what would I do without

01:20:46.670 --> 01:20:50.229
my raven friend? Yes, my lovely lady friend.

01:20:50.609 --> 01:20:55.590
Oh, well, let me just apologize that I have not...

01:20:55.949 --> 01:20:58.869
I have not watched Ghost Crazy, otherwise known

01:20:58.869 --> 01:21:04.109
as Crazy Nights, with Shemp Howard, one of three

01:21:04.109 --> 01:21:08.090
of the Three Stooges. Well, looks like I will

01:21:08.090 --> 01:21:11.289
be saving this one for the new year. Ring -a

01:21:11.289 --> 01:21:16.430
-ding, baby. In my time, I have yet to finish

01:21:16.430 --> 01:21:21.189
the Raven. My friends, something might happen

01:21:21.189 --> 01:21:24.850
at the end of this. You just wait and see. Ahem.

01:21:26.000 --> 01:21:29.899
This I sat engaged in guessing, but no syllable

01:21:29.899 --> 01:21:34.039
expressing to the fowl whose fiery eyes now burned

01:21:34.039 --> 01:21:38.819
into my bosom's core. This and more I sat divining,

01:21:38.880 --> 01:21:42.560
with my head at ease reclining on the cushion's

01:21:42.560 --> 01:21:45.979
velvet lining that the lamplight gloated o 'er,

01:21:45.979 --> 01:21:49.399
but whose velvet violet lining with the lamplight

01:21:49.399 --> 01:21:53.920
gloating o 'er, she shall press, ah, nevermore.

01:21:55.020 --> 01:21:58.699
Then methought the air grew dancer, perfumed

01:21:58.699 --> 01:22:02.340
from an unseen censer, swung by seraphim, whose

01:22:02.340 --> 01:22:06.380
footfalls tinkled on the tufted floor. Wretch,

01:22:06.479 --> 01:22:10.840
I cried, thy god hath lent thee, by the angels

01:22:10.840 --> 01:22:15.279
he hath sent thee. Respite, respite, respite,

01:22:15.300 --> 01:22:19.340
and repent from thy memories of Lenore. Quaff,

01:22:19.439 --> 01:22:22.319
oh quaff, this kind, repent, and forget this

01:22:22.319 --> 01:22:29.479
lost Lenore. Quote the raven, never more. Prophet

01:22:29.479 --> 01:22:33.000
said I, thing of evil. Prophet still, if bird

01:22:33.000 --> 01:22:37.279
or devil. Whether tempter set, or whether tempest

01:22:37.279 --> 01:22:41.619
tossed thee here ashore. Desolate, yet all undaunted

01:22:41.619 --> 01:22:44.579
on this desert land. Enchanted on this home by

01:22:44.579 --> 01:22:49.000
horror haunted. Tell me truly, I implore. Is

01:22:49.000 --> 01:22:53.130
there, is there balm in Gilead? Tell me, tell

01:22:53.130 --> 01:23:02.289
me, I implore, woke the raven, nevermore. Prophet,

01:23:02.430 --> 01:23:05.449
said I, thing of evil, prophet still, if bird

01:23:05.449 --> 01:23:09.109
or devil, by that heaven that bends above us,

01:23:09.189 --> 01:23:13.189
by that god we both adore, tell this soul with

01:23:13.189 --> 01:23:17.699
sorrow laden, if within the distant Eden. It

01:23:17.699 --> 01:23:20.819
shall clasp a sainted maiden whom the angels

01:23:20.819 --> 01:23:25.100
name Lenore. Clasp a rare and radiant maiden

01:23:25.100 --> 01:23:29.279
whom the angels name Lenore. Quote the raven

01:23:29.279 --> 01:23:33.979
nevermore. Be that word our sign of parting,

01:23:34.220 --> 01:23:38.500
bird or fiend. I shrieked, upstarting. Get thee

01:23:38.500 --> 01:23:40.979
back into the tempest and the night's plutonian

01:23:40.979 --> 01:23:44.680
shore. Leave no black plume as a token of that

01:23:44.680 --> 01:23:49.470
dying. soul hath spoken. Leave my loneliness

01:23:49.470 --> 01:23:53.550
unbroken. Quit the bust above my door. Take thy

01:23:53.550 --> 01:23:57.090
beak from out my heart, and take thy form from

01:23:57.090 --> 01:24:02.729
off my door. Quote the raven, never more. And

01:24:02.729 --> 01:24:06.729
the raven never flitting, still is sitting, still

01:24:06.729 --> 01:24:10.590
is sitting on the pallid bust of palace just

01:24:10.590 --> 01:24:14.859
above my chamber door. And her eyes have all

01:24:14.859 --> 01:24:18.380
the seeming of a demon that is dreaming. And

01:24:18.380 --> 01:24:21.579
the lamplight door her streaming throws her shadow

01:24:21.579 --> 01:24:25.460
on the floor. And my soul from out that shadow

01:24:25.460 --> 01:24:29.399
that lies floating on the floor shall be lifted.

01:24:30.520 --> 01:24:37.380
Nevermore. Oh my golly gee willikers friends.

01:24:37.520 --> 01:24:41.399
Look at this. This blinding light. Oh something's...

01:24:41.600 --> 01:24:44.380
Something's happening in the radiance of the

01:24:44.380 --> 01:24:48.460
beaming light of the raven she is transforming

01:24:48.460 --> 01:24:52.960
into. Into a long -haired beauty. Oh, my goodness.

01:24:53.079 --> 01:24:58.560
It is Lenore. Lenore, how long it has been. Oh,

01:24:58.699 --> 01:25:01.520
it was you with the raven the whole time. Oh,

01:25:01.680 --> 01:25:05.479
my goodness. Come here. Let me embrace you. Oh,

01:25:05.500 --> 01:25:08.260
let me kiss your sweet lips. Yes, it is your

01:25:08.260 --> 01:25:12.039
Peter Lorre. Yes. Never mind my rotted corpse.

01:25:12.220 --> 01:25:17.239
I am still the strong Svelte. My handsome actor

01:25:17.239 --> 01:25:21.640
you have always known. Oh, yes, Lenore. Well,

01:25:21.880 --> 01:25:26.779
what shall we do now? Yes, I agree. We should

01:25:26.779 --> 01:25:29.920
take a vacation from this podcast. We should

01:25:29.920 --> 01:25:34.500
go somewhere warm. But listeners, I will return

01:25:34.500 --> 01:25:38.510
in the new year, in 2026. The Poverty Road Picture

01:25:38.510 --> 01:25:50.649
Show in Shemp Howard. We will return. True terror

01:25:50.649 --> 01:25:56.829
is the soft, cold caress of the raven's wing.

01:25:58.590 --> 01:26:04.989
Your hands are so cold. A woman whose desires

01:26:04.989 --> 01:26:10.659
transcend reality. The mysterious powers of black

01:26:10.659 --> 01:26:14.319
magic. These you will explore. Now, what is it

01:26:14.319 --> 01:26:18.340
you need? You got some bright blood over the

01:26:18.340 --> 01:26:26.180
back in the house? The raven will take you careening

01:26:26.180 --> 01:26:30.039
through the darkest of dangers into the ominous

01:26:30.039 --> 01:26:38.180
mystery of a master magician's evil castle. Wait,

01:26:38.180 --> 01:26:46.020
my dear. I offer you a choice. The secret of

01:26:46.020 --> 01:26:50.319
your hand manipulations or this against this.

01:26:53.180 --> 01:27:08.699
Well, don't you stand there. Do something. I

01:27:08.699 --> 01:27:11.340
bet I never see him again. I bet I never see

01:27:11.340 --> 01:27:14.960
his lousy skin again. I bet I never... I bet

01:27:14.960 --> 01:27:18.020
I never share a bucket of fish heads with that

01:27:18.020 --> 01:27:21.619
guy again. I bet I... I bet I never have to share...

01:27:21.619 --> 01:27:24.859
Thank goodness I never have to share my... Thank

01:27:24.859 --> 01:27:27.000
goodness I never have to share my fish heads

01:27:27.000 --> 01:27:30.439
with that sorry... With that sorry sort again.