Bartlett Mullins Movies

Anthropologist Dr. Brockton (Joan Crawford) believes she has discovered the missing link in this flat science fiction drama. The creature is found in a cave and brought to her laboratory to undergo tests for her research. The hairy beast with the face of a monkey loves classical music and hates rock & roll. When one of the slack-jawed yokels opens his cage, he escapes and goes on a killing rampage as he tries to return to his cave. In a gentle moment with a little girl, the beast shows a tender side that recalls a scene from Frankenstein. Soon troops are called in, despite Brockton's protest to entomb the creature by dynamiting the entrance to the cave. This was the last film for Joan Crawford, an inglorious way to end a legendary film career. ~ Dan Pavlides, All Movie Guide

First broadcast in England on December 31, 1967, "A Change of Mind" was directed by Prisoner star Patrick McGoohan, under the pseudonym of "Joseph Serf" (the same name he'd used when directing the earlier episode "Many Happy Returns.") Still refusing to reveal his reasons for resigning from British Intelligence save for the vague explanation "I needed time to think," Number Six is declared "unmutual" by the powers that be in The Village. As such, he is subjected to the double assault of mind-bending drugs and ear-piercing sound waves. Though this treatment is meant to make Number Six more compliant, the tables are turned upon his tormentor Number Two (John Sharpe), with the unwitting assistance of Number Eighty Six (Angela Browne). Written by Roger Parkes and intended to be shown as the series' 13th episode, "A Change of Mind" was rescheduled as the 12th intallment--but not in America, where it aired in its proper chronological order on August 24, 1968. ~ Hal Erickson, All Movie Guide

Hammer Studios followed up Evil of Frankenstein with this entertaining sequel, again starring Peter Cushing as the quintessential mad scientist obsessed with the reanimation of dead bodies and the creation of superhuman creatures. His latest project involves transferring the mind of a wrongly-executed man into the body of his lover (former Playboy centerfold Susan Denberg), whose own suicide left her horribly disfigured. After restoring her beauty, the Doctor performs the mind-transference, which comes off without a hitch... until the lust for revenge against his executioners begins to surface. He/she then pursues this vendetta by seducing and murdering those who wronged him. Hammer stalwart Terence Fisher directs this quirky entry with his usual flair -- aided considerably by a decent budget -- and spices things up with a fair share of titillation (courtesy of Ms. Denberg). ~ Cavett Binion, All Movie Guide

In the fourth episode of the six-part story "The Sensorites," the Doctor manages to emerge triumphant from his latest crisis. This impresses his Sensorite captors, but they are still convinced that the Doctor -- and by extension, all of mankind -- is somehow responsible for the mysterious disease that is rapidly killing off their race. As the episode draws to a close, a new and even more terrible threat to the well-being of the Doctor and his companions appears on the horizon. Written by Peter R. Newman, "A Race Against Death" originally aired on July 18, 1964. ~ Hal Erickson, All Movie Guide

Michael Powell's controversial meditation on violence and voyeurism effectively destroyed his career when it was first released, but later generations have come to regard it as a masterpiece. Karl Heinz Boehm stars as Mark, the son of a psychologist who kept a video journal of the boy's upbringing for research purposes. The constant intrusions profoundly affected the boy, who grew up to be a photographer himself; but his principal subject matter consists of women whom he murders before the camera. He then runs the films of his victims in their final throes so that he can study their reactions to death--a perverse extension of his father's experiments, which tormented Mark to analyze his reactions to raw fear. The British press had long been hostile to the unorthodox films of Powell and his partner Emeric Pressburger; when Peeping Tom came around, they used the film to castigate him as "sick" and tawdry. The passage of time has proven Peeping Tom as profound and accomplished as any of Powell's earlier films, and it ranks with Alfred Hitchcock's Rear Window (1954) and Vertigo (1958) as a landmark exploration of the links among voyeurism, violence, and male sexual desire. Powell himself plays the evil father in the flashback sequences, and his son Colomba plays Mark as a child. ~ Hal Erickson, All Movie Guide

Curse of Frankenstein was the "breakthrough" picture for the fabled Hammer Studios. Told in flashback, the story centers around Baron Victor Frankenstein (Peter Cushing), a dangerously arrogant scientist who takes it upon himself to play God. Using portions of dead bodies, Victor fashions a synthetic monster (Christopher Lee) with a bad attitude. In a radical departure from the Frankenstein canon, it is the imperious Victor who orchestrates the film's two murders by "borrowing" the brain of a learned professor, then leaving his next victim at the mercy of the monster. In 1958, the film spwaned the sequel Revenge of Frankenstein. ~ Hal Erickson, All Movie Guide

This film offers a trio suspenseful dramas. In the first, an unhappy wife refuses to mourn the death of her husband, a miner who was trapped in a mining accident. Instead, she gets herself a new lover. Unfortunately, the husband survived. In the second episode, one sister saves the other, who has been betrothed by locking the groom away. Unfortunately, she has locked away the wrong man. In the final vignette, a saboteur plants a bomb in a factory and must escape before it goes off. Unfortunately, just as he thinks he is home free, a helpful coworker returns the lunchbox he left behind in his haste to leave. ~ Sandra Brennan, All Movie Guide

The iniquities of circumstantial evidence are explored in the compact crime drama Eight O'Clock Walk. Because he was the last person to see her alive, and because his playful behavior could be misconstrued as harassment, London taxi driver Tom Manning (Richard Attenborough) is arrested for the murder of a little girl. Manning's American wife Jill (Cathy O'Donnell) has a great deal of difficulty finding a lawyer who will defend her husband in court. She finally settles upon Peter Tanner (Derek Farr), who at first is not entirely convinced that his client is innocent. Eventually he is convinced, and even manages to expose the real murderer, one of the witnesses for the prosecution. Based on a true story, Eight O'Clock Walk is one of the most oft-telecast of 1950s British films, and deservedly so. ~ Hal Erickson, All Movie Guide

Brilliant plastic surgeon Philip Ritter (Paul Henreid) loses the love of his life, concert pianist Alice Brent (Lizabeth Scott), to her manager, David (Andre Morell). As a balm to his wounded pride, Dr. Ritter Henreid makes over a hideously scarred female criminal into the spitting image of the woman who jilted him (the girl is played by Mary McKenzie "before," and, of course, by Lizabeth Scott "after"). Alas, he cannot make over her personality as well, and soon she's run off with her own crooked crowd. A not-bad precursor to Hitchcock's Vertigo, A Stolen Face was produced by Britain's Hammer Films, and distributed in the U.S. by Lippert. ~ Hal Erickson, All Movie Guide

The brooding British romantic drama Gone to Earth is better known by its American title The Wild Heart. Filmed in England and cofinanced by David O. Selznick and Alexander Korda, the film stars Jennifer Jones (Mrs. Selznick) as Hazel Woodus, a tempestuous Welsh gypsy maid who can't seem to stay out of trouble. Feeling more of a kinship with woodland animals than with human beings, the Hazel enters into a loveless marriage with minister Edward Marston (Cyril Cusack). Believing she's been born under a curse which will punish her if she ever truly falls in love, Hazel does her best to suppress her carnal desires, but gives up the struggle when she begins an affair with rakish landowner Jack Reddin (David Farrar). Her inability to be mistress of her own fate leads to a spectacularly tragic denouement. Based on a novel by Mary Webb, Gone to Earth was cut from 110 minutes to 82 for its American release; the latter version included a narration by Joseph Cotten and several new scenes directed by Rouben Mamoulien. ~ Hal Erickson, All Movie Guide

Based on the play by Joan Temple, No Room at the Inn takes place in the early stages of WW2, when the children of London were evacuated to the Country. A group of these youthful refugees are taken in by Mrs. Voray (Freda Jackson), who already has several orphans in her charge. Outwardly the soul of Christian charity, Mrs. Voray is actually a drunken harridan who treats the children like her own personal slaves. It is said that when the villainess received her comeuppance, movie audiences were known to stand up and cheer. The most intriguing aspect of this melodramatic exercise is that the screenplay was written by legendary Welsh poet Dylan Thomas! ~ Hal Erickson, All Movie Guide