#francis pierlot

[mariocki]

Night Monster (1942)

"Why don't you have Millie do that, Miss Judd? That's a maid's work, not a housekeeper's. You needn't answer because I know the reason: that spot under your hand is blood and you didn't want anyone to know."

"Blood? Ridiculous."

"Yes, it is ridiculous. It couldn't be blood, but it is. I've seen those spots before and I've seen you trying to scrub them out because you knew what they were. Blood, the whole house reeks of it. The air is charged with death and hatred and something that's unclean!"

[weirdlookindog]

Bela Lugosi, Leif Erickson, Nils Asther, Lionel Atwill, Ralph Morgan, Francis Pierlot, Don Porter, and Frank Reicher in Night Monster (1942)

[ellie88-blog-blog]

That’s My Boy

Suitable for a diverse audience, "That's My Boy" presents a blend of football, romance, and comedy.

In the span of seven years, Dean Martin and Jerry Lewis starred in sixteen movies together. That’s quite an accomplishment for such a short amount of time. While their partnership was not sustainable and led to a messy split, we have their movies to get an idea of what was once a great partnership. Their fourth installment, the Hal Walker directed, and Cy Howard written, “That’s My Boy” (1951),…

[flashfuckingflesh]

Who Let EVIL Out of the Bag? "The Catman of Paris" reviewed! (Imprint / Blu-ray)

Meow!!  “The Catman of Paris” is on the Prowl on Imprint Blu-ray! From rags to riches, writer Charles Regnier pens one of the most popular and polarizing books of France.  Titled Fraudulent Justice, the subject matter coincidently contains secret court case information in it’s text.  Regnier stands firm his book is creative fiction while the French government think otherwise.  When a government…

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A Gentleman at Heart (1942) Ray McCarey

May 16th 2023

[thewarmestplacetohide]

Dread by the Decade: Night Monster

👻 You can support me on Ko-Fi! ❤️

★★

Plot: A man invites the doctors responsible for his declining health to his isolated mansion, where they are picked off one-by-one.

Review: Despite decent aesthetics, this film's horror is too sparse and its pace too dry to make up for its rather silly main idea.

Year: 1942 Genre: Supernatural Horror, Mystery, Gothic Country: United States Language: English Runtime: 1 hour 13 minutes

Director: Ford Beebe Writer: Clarence Upson Young Cinematographer: Charles Van Enger Editor: Jack Otterson Composer: Hans J. Salter Cast: Irene Hervey, Don Porter, Ralph Morgan, Fay Helm, Lionel Atwill, Frank Reicher, Francis Pierlot, Nils Asther, Bela Lugosi, Doris Lloyd

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Story: 2/5 - Despite some genuine mystery, it grows plodding, consisting mostly of people delivering dry dialogue before a rushed climax.

Performances: 3/5 - The cast is mostly natural, save for Asther, whose portrayal of an Indian man is laughable.

Cinematography: 3.5/5 - Good atmospheric lighting. The fog shots are surprisingly decent.

Editing: 3/5 - Smooth and coherent.

Music: 2.5/5

Effects & Props: 2.5/5 - Fluctuates between decent and cheap.

Sets: 4/5 - The ornate mansion is lovely and elaborate, with a particularly striking stairwell set.

Costumes, Hair, & Make-Up: 3/5

Trigger Warnings:

Minor violence

Suicide

Attempted sexual assault

Sexual harassment

Brownface

Inaccurate, racist portrayal of Hindu beliefs

Misogyny (uncritical)

Ableism (uncritical)

[blackramhall]

I'm in an interesting house. Handsomely upholstered in margue, with an old and dying reprobate as master, butler like a professional wrestler, and his housekeeper, she was once the toast of an era. The Man with a Cloak - Fletcher Markle (1951)

[howardhawkshollywoodannex]

Aline MacMahon, Burt Lancaster, and Gordon Gebert are mother, son and grandson in a scene from The Flame and the Arrow (1950) with Francis Pierlot as Papa Pietro. The film was photographed by Ernest Haller. This is Ernie's second honorable mention, after In This Our Life with Bette Davis. He has eight entries among my best 1,001 movies, including Gone with the Wind and three with Bette - Dark Victory, Jezebel, and Whatever Happened to Baby Jane.

[byneddiedingo]

Mickey Rooney and Judy Garland in Strike Up the Band (Busby Berkeley, 1940) Cast: Mickey Rooney, Judy Garland, Paul Whiteman, June Preisser, William Tracy, Larry Nunn, Ann Shoemaker, Margaret Early, Francis Pierlot, Virginia Brissac, George Lessey, Enid Bennett, Howard Hickman, Sarah Edwards, Milton Kibbee, Helen Jerome Eddy. Screenplay: John Monks Jr., Fred F. Finkelhoffe. Cinematography: Ray June. Art direction: Cedric Gibbons, John S. Detlie. Film editing: Ben Lewis. Music: Leo Arnau, George Stoll. At one point in Strike Up the Band, the kids put on a show that's a burlesque of a "Gay Nineties" melodrama. Which might remind us that 1890 and 1940 were not so remote from each other as 2022 is from 1940. We might even look at a film like High School Musical (Kenny Ortega, 2006) or a TV series like Glee (2009-2015) as a burlesque of Strike Up the Band, except they took the subject matter more seriously than the kids in the 1940 movie did the material of old-time melodrama. Strike Up the Band is a still-honored subgenre, the "hey, kids, let's put on a show" musical. It has all the caricaturable excesses of its kind: big musical numbers that would never fit on an actual stage; the struggle to raise money for the show; the setback when one kid gets sick; the protagonist struggling with whether to become a musician or a physician; the teen romance that isn't quite gelling; the kindly, understanding mother; and even a rousing finale that actually waves the flag. Unfortunately, it's also something of a dud, especially considering the talent involved: Mickey Rooney, Judy Garland, and direction by Busby Berkeley. But this is the Berkeley of the MGM years, not the unfettered "choreographer of space" of the Warner Bros. musicals of the early 1930s -- or even the Berkeley who snuck over to 20th Century Fox in 1943 and gave Carmen Miranda a tutti-frutti hat in one of the craziest moments in The Gang's All Here. At MGM he was reined in too much, though you can sense him yearning to break free in numbers like the title sequence and "Do the La Conga." Garland sings some mostly unmemorable songs well -- though MGM bought the rights to the 1927 stage musical by George and Ira Gershwin, it retained only the title song; the rest are by Roger Edens and the film's producer, Arthur Freed, along with some period oldies for the melodrama sequence. And Rooney is as manic as he ever got on film: dancing, mugging, and frenetically playing the drums. Still, at 120 minutes, Strike Up the Band sags a little too often, especially in a stop-motion puppetry sequence in which Rooney imagines conducting an orchestra made up of fruit -- an idea that Vincente Minnelli came up with and producer Freed enthusiastically adapted. Better songs and a brighter supporting cast might have helped, and the 40-year-old hairlines on some of the supposed high school students are too much in evidence.

[trashmenace]

Night Monster

Night Monster is horrific tale filled with strange characters, secret passages, dark storms and a murderer who has mastered the art of “mind over matter”. Kurt Ingston (Ralph Morgan) is a helpless cripple due to the incompetence of three doctors (Lionel Atwill, Frank Reicher, Francis Pierlot). He invites them to visit him at his estate on the pretext of donating money to medicine. One by one, the doctors are mysteriously murdered. The spooky mansion is filled with strange characters, any one of whom could be the killer. There is the ominous butler (Bela Lugosi), the grim housekeeper (Doris Lloyd), the lecherous chauffeur (Leif Erikson), a mystic (Nils Asther) and Ingston’s demented sister (Fay Helm). Trying to solve the murders – and stay alive – are a psychiatrist (Irene Hervey) and a mystery writer (Don Porter).

DVD from Amazon

[manualstogo]

For just $3.99 Released on March 2, 1946: A college student kills a pawn broker to get enough money to finish school, and experiences great fear as the cops play a cat-and-mouse game with him. Genre: Drama Duration: 1h 37min Director: Alfred Zeisler Actors: Peter Cookson (Larry Crain), Warren William (Police Captain Burke), Anne Gwynne (Eileen Stevens), Francis Pierlot (Professor Stanley), Nestor Paiva (Detective Shaefer), James Cardwell (Ben, a student), Almira Sessions (Mrs. Williams, landlady), William Moss (Al), Harry Clay (student), Johnny Strong (student), Ernie Adams (house painter), Charles Calvert (Doc), Phyllis Ayres (pedestrian), Tony Barrett (narrator), Ken Broeker (uniformed officer), Fairfax Burger (magician), James Conaty (man in police station), Chester Conklin (railroad switchman), Bubbles Hecht (blonde), Hy Jason (pedestrian), Carl M. Leviness (tailor), Darren McGavin (blonde student), Pat McKee (second bartender at the Sea Hawk), Winnie Nard (pedestrian), Paul Newlan (first bartender at the Sea Hawk), Jack Richardson (pedestrian), Cedric Stevens (unknown), Brick Sullivan (policeman), Lee 'Lasses' White (janitor) *** This item will be supplied on a quality disc and will be sent in a sleeve that is designed for posting CD's DVDs *** This item will be sent by 1st class post for quick delivery. Should you not receive your item within 12 working days of making payment, please contact me so we can solve this or any other questions. Note: All my products are either my own work, licensed to me directly or supplied to me under a GPL/GNU License. No Trademarks, copyrights or rules have been violated by this item. This product complies with rules on compilations, international media, and downloadable media. All items are supplied on CD or DVD.

[classicfilmfreak]

New Post has been published on http://www.classicfilmfreak.com/2017/09/07/night-monster-1942-starring-bela-lugosi-lionel-atwill/

Night Monster (1942) starring Bela Lugosi and Lionel Atwill

When the frogs stop croaking . . . watch out!

The beginning of Night Monster is rather subdued but with enough hints of disquiet and mystery to stimulate the interest.  In keeping with the body-plentiful tradition of Universal horror films of the ’30s and ’40s, there will be eight deaths, including one which has occurred before the movie begins.  Distracting from this, however, is the talky script, which has a positive effect, extending the suspense between body-findings.

At the fog-enshrouded Ingston mansion, the gate keeper (Cyril Delevanti, Deborah Kerr’s grandfather in The Night of the Iguana, 1964) opens the gate for a man who apparently has walked down the dirt road from nowhere.  Inside the house, he sees the housekeeper, Sarah Judd (Doris Lloyd, the Baroness Ebberfeld in The Sound of Music, 1956), on her knees, scrubbing a spot on the carpeted steps of an elaborate staircase.

The man, who wears a turban, watches from behind a balustrade as Margaret Ingston (Fay Helm, Mrs. Fuddle in the Blondie series, 1938-50), daughter of the household head, approaches Judd and accuses her of cleaning blood from the carpet.  The two argue, Margaret insisting she isn’t insane and the housekeeper finally sending her to her room—a servant giving orders to her employer?

Later, the maid, Milly Carson (Janet Shaw, the waitress at the Till Two bar in Alfred Hitchcock’s Shadow of a Doubt, 1943), descends the staircase and phones the local constable.  Her warnings about the strange goings-on in the Ingston household are cut short by the butler, Rolf (Bela Lugosi), who quietly emerges through the door behind her.  She gives her notice and prepares to leave.

With this atmosphere—the sense of unrest, the suspicious characters and the underlying creepy music—the mood is set. . . .

Despite the bodies that will accumulate, the two top-billed stars in Night Monster step outside their usual sinister roles, their names used here for their marquee value.  Lugosi, well into a physical and mental collapse, is relegated to the role of butler, either announcing dinner, summoning guests to the library or finding bodies.  The Human Monster, back in 1940, is the last film to qualify as a true Lugosi vehicle.

Lionel Atwill, though much more of a star than his two doctor companions, is the first of the three to be dispatched, after only a brief time on screen.  1942 was one of his busiest years, playing doctors in both The Mad Doctor of Market Street and The Ghost of Frankenstein, and important roles in To Be or Not to Be and Sherlock Holmes and the Secret Weapon as Moriarity opposite Basil Rathbone’s Holmes.  He appeared in nine films that year.

Directed by Ford Beebe, Night Monster comes at a time when the luster of Universal as the master of horror is clearly in decline.  The abundant fog around the Ingston mansion, and on the much-traveled road leading to it, is essential to hide a barren set.  The elaborate two-level staircase appears in many of the studio’s films.

Much of the spirit and many of the trademarks of Universal, however, still shine through.  Hans J. Salter’s music, one of the strongest ingredients in the film, provides an eerie atmosphere, starting with the main title, which would be reused in The Ghost of Frankenstein.  Behind the opening credits, as so often in the studio’s horror movies, the camera traverses those familiar, desolate, foggy woods, as in The Wolf Man (1941).

Charles Van Enger, rather undistinguished as cinematographers go, was nonetheless a stalwart of Universal and Warner Bros.  His greatest claim to fame is his uncredited work on the 1925 Lon Chaney, Sr. Phantom of the Opera.  He spent the last years of his career in television—Lassie, The Betty Hutton Show, Gilligan’s Island and many others.

Returning to the doings at the mansion, Laurie, the lecherous chauffeur (Leif Erickson, best known for TV’s The High Chaparral, 1967-71), has been sent by the head of the household, Kurt Ingston (Ralph Morgan, brother of Frank, Professor Marvel in The Wizard of Oz, 1939), to the train station to pick up three doctors.

Doctors King (Atwill), Timmons (Frank Reicher, the ship captain in King Kong, 1933) and Phipps (Francis Pierlot, player of small roles, such as Herkimer in Anne of the Indies, 1951) had earlier attended the wheelchair-bound Ingston, who, after his “major illness,” as King describes it, is now without arms and legs.

Ingston seems free of grudges, saying the doctors did all that medical science allowed.  “I don’t think you’ve ever been properly rewarded,” he tells them at dinner.  “But you will be.  You will be.”

Summoned by Margaret Ingston, a fourth doctor, psychiatrist Lynn Harper (Irene Hervey, her last movie role was in Clint Eastwood’s Play Misty for Me, 1971), is en route when her car breaks down.  Walking down the road toward the mansion, she hears a scream, just after the frogs had stopped croaking, but fortunately meets a car driven by a frequent visitor to the Ingstons, Dick Baldwin (Don Porter, most adept in comic roles in both movies and TV).

With patches of blood near the body, a strangled Milly—the source of the scream—is found by Constable Cap Beggs (Robert Homans, grim-faced actor of countless judges and law officers).  Beggs was alerted by the buggy-driving Jed Harmon (Eddy Waller, character actor in many a Western) of the suspicious whereabouts of the maid.

The eavesdropping man with the turban turns out to be a live-in guest, an Eastern mystic, Agor Singh (Niles Asther, a Danish actor who once proposed, unsuccessfully, to Greta Garbo).  In an incomprehensible discourse to guests in the library, Singh explains how rearranging “cosmic substances” can materialize objects through deep concentration.

He demonstrates by evoking a kneeling skeleton—the undoubted work of Universal’s special effects master John P. Fulton, though no screen credit is given.  Singh says certain details in the process, such as the residual blood, even after the skeleton itself has disappeared, cannot be explained to the “uninitiated.”

During a later scene in the library, Rolf enters to summon everyone to the room of Dr. King—strangled by his bed, only a claw-like hand visible and blood blotches on the floor.  Then, between various stretches of dialogue, follows the similar death of Dr. Timmons, a hand clutching the bedspread.  After Dr. Phipps has also been strangled, Baldwin and Beggs follow the blood to a secret passage (a set from The Cat and the Canary, 1939).

Margaret argues with housekeeper Judd and sets fire to the house in a fit of insanity while, outside in the woods, Baldwin and Harper are being stalked by a shadowy, stiff-walking man.  It’s Kurt Ingston!  But he’s . . . walking!  (Was there ever any doubt that he was the murderer?  A man in a wheelchair should always be the first suspected—and, quite often, he’ll be the killer.)

Failing to kill Baldwin, Ingston tries to strangle Harper, but Singh appears and shoots him, his legs gradually dematerializing as he dies.  In the background, flames consume the Ingston mansion—the same model used in The Ghost of Frankenstein.

For what it is, Night Monster isn’t all that bad.  Of course it never escapes its class “B” horror status, not that it tries or wants to, but it has a certain measured, suspenseful pace.  The key murders, Milly’s aside, are sensitively spaced, beginning later in the plot than perhaps expected.  While Calvin Thomas Beck, for example, accords the movie only one line in passing, justified in the context of his Heroes of the Horrors, as it’s not a Lugosi vehicle, a number of other critics give Night Monster surprisingly high marks.  A competent cast moves about in sharp black-and-white photography, and the premise of materializing legs to commit murder is a little different.

And what better way to end a horror movie about a ridiculous, untenable premise than with an appropriately empty warning, presumably to those who might try rearranging those cosmic substances: “A little knowledge of the occult is dangerous,” Singh ruminates in the film’s last lines.  “Unless it’s used for good, disaster will follow its wake.  That is Cosmic Law.”

Let that be a lesson.

https://www.youtube.com/watch?v=eoaL3ClDuX4

[virginiaweidlerremembrance]

TODAY IN GINNY! - July 15 - Francis Pierlot

Good morning! That was a close one! Tresstine gave John the big assist over at Facebook to solve yesterday's TIG. Let's recap. I was in but a single Virginia Weidler film. That would be BARNACLE BILL (1941).

I began my show business career as a teen, but didn't make films a full time thing for almost fifty years. I appeared in a couple of films during my long stage career, but didn't really start my film career until 1940. My specialty was priests and ministers. STAGE DOOR CANTEEN, UNCERTAIN GLORY, THE VERY THOUGHT OF YOU are just a few of the films in which I played clergy. I was even a monk in CYRANO de BERGERAC. BARNACLE BILL was my first clergy role.

I also appeared in films with Jane Withers, Margaret O'Brien, and Peggy Ann Garner. (the last two added later as an additional hint) I had a non-clergy role in THE NORTH STAR, but played a minister in OUR VINES HAVE TENDER GRAPES and a priest in A TREE GROWS IN BROOKLYN. Who am I?

I am Francis Pierlot, born July 15, 1875.

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Fear (1946) Alfred Zeisler

November 20th 2020