Podcasts about old dark house

*From the desk of Pete* Once thought to be "Lost Media," Spider Baby has thankfully been rediscovered and given a proper Blue Ray release by Arrow. The last film of legendary genre actor Lon Chaney Jr. puts out a powerful performance in this ominous, horrifying rendition of an "Old Dark House" film and Sid Haig flexes his acting chops without ever saying a word. Charlie blew Pete and Anna's mind when he suggested that Rob Zombie's House of 1000 Corpses is a spiritual remake and the more they talked about it the more they agreed. This one's in the public domain so it's easy to find and the entire cast suggests you spend the 80 minutes to experience a true cult film.

Why did Hammer films remake this classic only to turn it into "what if Clue sucked"??

We're getting retro this week, fiends! Join us as we go to an Old Dark House, and meet a cast of Haunted Hill style trope characters, who are all being menaced by Lon Chaney Jr.'s grandson, Ron (obvs). We're talking about the classic eye-cutout paintings, some unfortunate racial caricatures, (and how to fix it), and gushing over a truly awesome MONSTER FIGHT! Please rate, review, and tell your fiends. And be sure to subscribe so you don't miss future installments. Join us on Patreon at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/thefrankencast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Find all of our various links at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠linktr.ee/frankencast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or send us a letter at thefrankencast@gmail.com. We'd love to hear from you! Your Horror Hosts: Anthony Bowman (he/him) & Eric Velazquez (he/him). Cover painting by Amanda Keller (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@KellerIllustrations on Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠).

Jim & Livio take you to the village of Kleinschloss, where the villagers fear a vampire who is killing it's citizens - or is it really a vampire? We cover this 1933 Majestic Pictures film that stars Lionel Atwill, Fay Wray, Melvyn Douglas, and Dwight Frye. Though made from a 'poverty row' studio, this film uses several Universal players, the sets from Frankenstein and The Old Dark House, and has some great performances! Grab some apples, epsom salt, and your favorite furry bat and join us as we discuss this great movie!

2025 kicks off Big, Old, and Dark with Dalton's first solo pitch of the season! It's a modern twist on gothic horror, based on a 1928 novel by J.B. Priestley and a James Whale Universal horror classic that was almost lost forever. How will Dalton reimagine this spooky tale to fit into the HELL ON EARTH era of our ongoing Dark Universe? We'll be real with you - this is a heavy episode, so we've included a trigger warning section that you can skip to before proceeding to the script reading. Listeners sensitive to depictions of sexual assault or trans characters in mortal peril may want to visit the timestamp below before proceeding into the episode. 02:15:26 - Trigger Warnings (SPOILERS!) This week's episode is brought to you by our Patreon, where we've posted the uninterrupted and unabridged reading of Dalton's script, which was just too plain long to keep in this episode. Also, this month on Are You Afraid of Dylan & Dalton? we pitched a Dark Universe take on the Disney classic The Parent Trap! Enjoy a peek during this episode's intermission and start a 7-day free trial at Patreon.com/DarkUniversePod.  TIMESTAMPS 00:00:00 - Start 00:06:43 - Fan Expectations 00:10:05 - Dalton's Approach 00:15:54 - Trigger Warning Warning 00:17:21 - Episode Format 00:19:04 - Director Choice 00:20:55 - Act One 00:53:19 - Discussion 01:04:24 - Act Two Part One 01:28:11 - Discussion 01:38:09 - Act Two Part Two 01:52:48 - Discussion 01:57:36 - Act Three 02:15:26 - Trigger Warnings (SPOILERS!) 02:17:09 - Discussion

The Leopard Man (1943), The Seventh Victim (1943), Isle of the Dead (1945) Back in episode 23, we covered producer Val Lewton and three of his films. While Lewton only produced about a dozen films—and only a handful of them horror—his work made a huge impact on the genre. That's why we've decided to discuss three more of his films, hoping to inspire other fans to seek out not only the ones we've covered but his other titles as well. With the help of a talented group of craftsmen—including directors Jacques Tourneur and Mark Robson, screenwriter Ardel Wray, and a skilled cast of actors he worked with repeatedly—Lewton created films that stood apart. They weren't just different from what he was hired to produce; they defied the expectations of most horror fans at the time. His films had style, compelling stories, and uniquely well-developed characters. They're a testament to how effective something as simple as a walk down the street can be when crafted by the right people. Films mentioned in this episode: The Body Snatcher (1945), Cat People (1942), The Curse the Cat People (1944), Curse of the Demon (1957), The Day After (1983), Isle of the Dead (1945), I Walked with a Zombie (1943), The Leopard Man (1943), Old Dark House (1932), The Seventh Victim (1943)

Send us a textA grieving woman and her son move back to the unoccupied house of her ex husband, recently found dead, but they discover that they are not alone inside the house. Living in the basement are three friends struggling to find relevancy. On Episode 650 of Trick or Treat Radio we discuss the British horror film The Monster Beneath Us directed by Sophie Osbourne! We also discuss gothic horror, the 80s comedy classic Top Secret!, and we amazingly find out who invented the faucet! So grab your comically large horse pills, be like Steve Guttenberg, and strap on for the world's most dangerous podcast!Stuff we talk about: The Exorcist, Frankenstein, Basket Case, Hellraiser, Children of the Corn, Professor Elemental, The Woman in Black, Crimson Peak, Guillermo del Toro, Hammer Films, Twins of Evil, The Others, Hagazusa, Nicole Kidman, The Old Dark House, Boris Karloff, Gloria Stuart, The Haunting, Richard Johnson, WWE, Netflix, The Rock looks old for the first time, Royal Rumble, Buddy Matthews, Rhea Ripley, Hogan heat, American Bad Ass Undertaker, R.J. Brewer, Hulk Hogan looking terrible, Cope, Kenny Omega, who invented the faucet, ball valve, The Monster Beneath Us, Sophie Osbourne, the balls of my father, Becca Hirani, Marshall Hawkes, Top Secret!, Val Kilmer, Zucker Abrahams and Zucker, go back in time to the 1900s, Boggarts, smoke monsters, stiff upper lip, British Culture, large horse pills, Melancholia, Amphetamines, Vamp Quartet, Jodorowsky's Dune, George A. Romero's Resident Evil, A-Lister, Four Roses Bourbon, ROFL, Hamburgler, Aaron Pierre, Keanu Reeves, Constantine, we'd be an 18th Century 8.5/10, Boggart in the Basement, and what's good for the goose is good for the Guttenberg!Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

The Old Dark House (1963) movie review for horror and tea fans alike! For our tea sippers, brew a cup of tea, sit back, relax and we hope you enjoy the review! We would be honored if you liked and subscribed!   Please comment on what you thought of the movie! If you'd like to recommend a movie, game or tea and keep up to date with our content, all of our platforms are listed below:

Our Return to Hammerland is complete with this one-two-punch review of both takes on The Old Dark House!In our final episode of the year, Ian and AC look at James Whale's 1932 Universal spook-fest, starring Boris Karloff and Gloria Stuart--and William Castle's Hammer-produced 1963 remake. Both are very different adaptations of the J.B. Priestley novel, which centers on an eccentric family who oversees a dilapidated mansion--and the bizarre secrets within!In this spoiler-filled dive into the "quirky horror" subgenre, the guys examine how two films, made thirty years apart, tackle the same premise in ways that make them both essential viewing. In short, the term "remake" is apt but very loose, and it's easy to imagine another take on the material that combines each film's best elements into a horror-comedy version of Clue!Also, the guys talk about the strange new direction this series is headed in 2025. Will next year be...the final chapter?!Join us and find out!Subscribe, like, and comment on Kicking the Seat here on YouTube, and check us out at:kickseat.comXBlueSkyInstagramFacebookShow LinksWatch the Old Dark House (1932) trailer.Watch the Old Dark House (1963) trailer.Find out where to watch The Old Dark House at JustWatch!Follow along with all of AC's macabre musings at Horror 101 w/ Dr. AC!Order AC's books on essential and obscure horror movies, Horror 101 and Hidden Horror!Subscribe to AC's YouTube channel, Horror 101 with Dr. AC.Hitch a ride with our entire 2024 series in the "Return to Hammerland" Playlist!It's not too late to catch up with our 2023 trip “Beyond Hammerland”!Check out 2022's year-long journey, "Son of Hammerland"!And watch the series that started it all: "Hammerland"!

Ep. 282: Thomas Beard of Light Industry on The Old Dark House, Japanese Paper Films, Community Action Center, and More Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. I am a longtime admirer of Light Industry, home to wonderful screenings with original programming, and in my humble opinion a true New York institution. Shortly after Halloween, I was delighted to chat with programmer Thomas Beard, who together with Ed Halter developed and oversees Light Industry. The conversation begins with the James Whale classic The Old Dark House, and then moves through a discussion of film curation, Beard's development as a programmer dating back to Cinematexas, the history of Light Industry, recent screenings there such as the Japanese Paper Films program, and the vital role of preservation, programming, and exhibition in keeping films alive (or bringing them back from the dead). See what's showing next at Light Industry at lightindustry.org Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Five strangers gather in a spooky house filled with secrets during a terrible storm, and meanwhile two podcasters gather in different time zones to discuss it- join Borgo Pass host Jim Towns and Ian Bates of The Monster Archives podcast as they discuss James Whale's Frankenstein follow-up: 1932's THE OLD DARK HOUSE, starring Boris Karloff, Ernest Thesiger, Melvyn Douglas, Gloria Stuart, Lilian Bond, Raymond Massey and Charles Laughton. 

The Legend of Hell House (1973), Hausu (1977), The Abandoned (2006) In older small towns, there is usually some old house on the outskirts of town, maybe someone lives there, maybe not. But it is one that young kids dare themselves to go up to. And if you do dare to enter this dwelling, you'll find creaking boards, dust covered items from furniture to knick-knacks, and a lot of cobwebs. And any noise, no matter how small it might, gets the mind racing. There is nothing better for the Halloween season than sitting down with a nice Haunted House movie. Which is why we decided to tackle 3 of our favorite scary movies about demented dwellings, as well as ones that we feel that need more attention. Going back to the very beginning of cinema, with Georges Méliès' The House of the Devil (1896), it shows how important this sub-genre is, and why filmmakers continue to go back to it. When done correctly, can be highly effective, and damn scary.  Films mentioned in this episode: The Abandoned (2006), Aftermath (1994), Amityville Horror (1979), The Changeling (1980), The Chooper (1971), Color Out of Space (2019), The Conjuring (2013), Creepshow (1982), Dirty Mary Crazy Larry (1974), Dust Devil (1992), Dracula (1931), Escape to Witch Mountain (1975), The Evil (1978), Fletch (1985), Frankenstein (1931), Genesis (1998), The Ghost of Sierre de Cobre (1964), Hardware (1990), The Haunting (1963), Hausu aka House (1977), The House of Clocks (1989), The House of the Devil (1896), The House on Haunted Hill (1959), The House that Dripped Blood (1971), Ice from the Sun (1999), Infinity Pool (2023), The Innocents (1961), Jaws (1975), The Legend of Hel House (1973), The Old Dark House (1932), Paranormal Activity (2007), Pet Sematary (1989), Poltergeist (1982), Possessor (2020), Salem's Lot (1979), Scrapbook (2000), The Shining (1980), Stir of Echoes (1999), Subconscious Cruelty (2000), Tennessee Gothic (2019), Terrified (2017), Twin of Evil (1972), The Uninvited (1944), The Watcher in the Woods (1980), The Woman in Black (1989)

A terrible storm forces weary travelers to spend the night at an... old dark house, but they find the inhabitants there to be on the wrong side of trustworthy. The always-awesome Ryan joins us to talk about the 1932 classic The Old Dark House.

The Fellowship is pleased to present our conversation with Madeleine Holly-Rosing about her new Kickstarter campaign, the Boston Metaphysical Society volume 2 hardcover edition, going live on 10/2. Check it out! Plus our usual crazy talk, geek news, and tangents

GGACP celebrates National Piano Month (yes, National Piano Month) by revisiting this 2017 interview with songwriter/composer-turned-dramatist (and lifelong pianist!) Rupert Holmes. In this episode, Rupert discusses (among other essential topics) the brilliance of Bernard Herrmann, the lesser-known films of Boris Karloff and the fine art of “cracking” celebrity impressions. Also, Frank Gorshin channels George Burns, Gilbert mimics Sydney Greenstreet, Bob Hope goes psychedelic and Rupert remembers his childhood hero, Jerry Lewis. PLUS: “House of Wax”! The Great Gildersleeve! Grandpa Munster rocks out! Rupert” collaborates” with Mickey Rooney! And the boys pay tribute to “Old Dark House” movies! Learn more about your ad choices. Visit megaphone.fm/adchoices

Aaron and Darlene watch some classic sci-fi from the 1950s and '60s, good and bad. They talk about what makes these films memorable and fun, and if you should take a trip back in time and enjoy these films as well.Feedback for the show?:Email: feedback@thisweekingeek.netTwitter: https://twitter.com/thisweekingeekSubscribe to our feed: https://www.spreaker.com/show/3571037/episodes/feediTunes: https://podcasts.apple.com/us/podcast/this-week-in-geek/id215643675Spotify: https://open.spotify.com/show/3Lit2bzebJXMTIv7j7fkqqGoogle Podcasts: https://www.google.com/podcasts?feed=aHR0cHM6Ly93d3cuc3ByZWFrZXIuY29tL3Nob3cvMzU3MTAzNy9lcGlzb2Rlcy9mZWVkWebsite: https://www.thisweekingeek.net

In "Episode 1: Don't Go Past the Old Dark House," Nashi has gone missing, and the only clue to his whereabouts is a strange doorway. What horrors lie beyond it, and who will answer the call to rescue him?

Join us for another thrilling episode of Geek in the City Radio! This week, we dive deep into the shadowy world of classic horror with the return of our Film Fever series. We're joined by the incredibly talented Anastasia Elfman, actor, writer, performer, and producer, as we explore the eerie depths of the 1932 Universal masterpiece, The Old Dark House. Get ready for a chilling journey filled with gothic atmosphere, eccentric characters, and spine-tingling suspense. Don't miss this exclusive interview and in-depth analysis of a horror classic! Hire a Writer - Explore Geeky Portland - Downtown Fun - Battle Grounds Gaming Cafe

The Old Dark House (1932) by Bob Sham & Friends

This week on the blog, a podcast interview with the writer of a great new book, “London After Midnight: The Lost Film,” a book about the classic lost Lon Chaney film.LINKS A Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Daniel's Facebook Page: https://www.facebook.com/p/London-After-Midnight-The-Lost-Film-100075993768254/Buy the Book “London After Midnight: The Lost Film”: https://www.amazon.com/London-After-Midnight-Lost-Film/dp/1399939890Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastTRANSCRIPTJohn: So, Daniel, when did you first become aware of London After Midnight? Daniel: I was about seven years old when I first stumbled into Lon Chaney through my love of all things Universal horror, and just that whole plethora of characters and actors that you just knew by name, but hadn't necessarily seen away from the many still photographs of Frankenstein, Dracula, Dr. Jekyll and Mr. Hyde. And the Phantom was the one to really spark my interest. But this was prior to eBay. I couldn't see the film of Lon Chaney's Phantom of the Opera for a year. So, I kind of had the ultimate build to books and documentaries, just teasing me, teasing me all the time. And when I eventually did watch a few documentaries, the one thing that they all had in common was the name Lon Chaney. I just thought I need to learn more about this character Lon Chaney, because he just found someone of superhuman proportions just who have done all of these crazy diverse characters. And, that's where London After Midnight eventually peeked out at me and, occupied a separate interest as all the Chaney characterizations do.John: So how did you get into the Universal films? Were you watching them on VHS? Were they on tv? Did the DVDs happen by then?Daniel: I was still in the VHS days. My dad is a real big fan of all this as well. So he first saw Bela Lugosi's Dracula, on TV when he was a kid. And prior to me being born he had amassed a huge VHS collection and a lot of those had Boris Karloff, Bela Lugosi, Henry Hull, Claude Rains, Vincent Price, what have you.And a lot of them were dedicated to Universal horrors. And as a young curious kid, my eyes eventually crossed these beautiful cases and I really wanted to watch them. I think my first one I ever watched was The Mummy's Tomb or Curse of the Mummy. And it's just grown ever since, really.John: You're starting at the lesser end of the Universal monsters. It's like someone's starting the Marx Brothers at The Big Store and going, "oh, these are great. I wonder if there's anything better?" Jim: Well, I kinda like the fact that you have come by this fascination, honestly, as my father would say. You sort of inherited the family business, if you will. The book is great. The book is just great. And I'll be honest, I had no, except for recording the novel that John wrote, I really had no frame of reference for London after Midnight.John: Well, Jim, were you a monster guy? Were you a Universal Monster kid?Jim: Oh yeah. I mean, I had all the models. I love all of that, and certainly knew about Lon Chaney as the Phantom of the Opera, as The Hunchback of Notre Dame. I knew he was the man with a thousand faces. I knew he, when he died, he wrote JR. on his makeup kit and gave it to his kid. So, I knew stuff. But London after Midnight I didn't know at all, except for the sort of iconic makeup and that image, which I was familiar with. What was the inspiration for you in terms of writing this book?Daniel: Like you say, I really had no immediate go-to reference for London after Midnight, away from one or two images in a book. Really clearly they were very impactful images of Chaney, skulking around the old haunted mansion with Edna Tichenor by his side with the lantern, the eyes, the teeth, the cloak, the top hat, the webs, everything. Pretty much everything that embodies a good atmospheric horror movie, but obviously we couldn't see it.So that is all its fangs had deepened itself into my bloodstream at that point, just like, why is it lost? Why can't I see it? And again, the term lost film was an alien concept to me at a young age. I've always been a very curious child. Anything that I don't know or understand that much, even things I do understand that well, I always have to try to find out more, 'cause I just can't accept that it's like a bookend process. It begins and then it ends. And that was the thing with London after Midnight. Everything I found in books or in little interviews, they were just all a bit too brief. And I just thought there has to be a deeper history here, as there are with many of the greatest movies of all time. But same with the movies that are more obscure. There is a full history there somewhere because, 'cause a film takes months to a year to complete.It was definitely a good challenge for me. When we first had our first home computer, it was one of those very few early subjects I was typing in like crazy to try to find out everything that I could. And, that all incubated in my little filing cabinet, which I was able to call upon years later.Some things which were redundant, some things which I had the only links to that I had printed off in advance quite, sensibly so, but then there were certain things that just had lots of question marks to me. Like, what year did the film perish? How did it perish? The people who saw the film originally?And unlike a lot of Chaney films, which have been covered in immense detail, London after Midnight, considering it's the most famous of all lost films, still for me, had major holes in it that I just, really wanted to know the answers to. A lot of those answers, eventually, I found, even people who knew and institutions that knew information to key events like famous MGM Fire, they were hard pressed to connect anything up, in regards to the film. It was like a jigsaw puzzle. I had all these amazing facts. However, none of them kind of made sense with each other.My favorite thing is researching and finding the outcomes to these things. So that's originally what spiraled me into the storm of crafting this, initial dissertation that I set myself, which eventually became so large. I had to do it as a book despite, I'd always wanted to do a book as a kid.When you see people that you idolize for some reason, you just want to write a book on them. Despite, there had been several books on Lon Chaney. But I just always knew from my childhood that I always wanted to contribute a printed volume either on Chaney or a particular film, and London after Midnight seemed to present the opportunity to me.I really just didn't want it to be a rehash of everything that we had seen before or read before in other accounts or in the Famous Monsters of Filmland Magazine, but just with a new cover. So, I thought I would only do a book if I could really contribute a fresh new perspective on the subject, which I hope hopefully did.John: Oh, you absolutely did. And this is an exhaustive book and a little exhausting. There's a ton of stuff in here. You mentioned Famous Monster of the Filmland, which is where I first saw that image. There's at least one cover of the magazine that used that image. And Forrest Ackerman had some good photos and would use them whenever he could and also would compare them to Mark the Vampire, the remake, partially because I think Carol Borland was still alive and he could interview her. And he talked about that remake quite a bit. But that iconic image that he put on the cover and whenever he could in the magazine-- Jim and I were talking before you came on, Daniel, about in my mind when you think of Lon Chaney, there's three images that come to mind: Phantom of the Opera, Quasimoto, and this one. And I think this one, the Man in the Beaver hat probably is the most iconic of his makeups, because, 'cause it is, it's somehow it got adopted into the culture as this is what you go to when it's a creepy guy walking around. And that's the one that everyone remembers. Do you have any idea, specifically what his process was for making that look, because it, it is I think ultimately a fairly simple design. It's just really clever.Daniel: Yes, it probably does fall into the category of his more simplistic makeups. But, again, Chaney did a lot of things simplistic-- today --were never seen back then in say, 1927. Particularly in the Phantom of the Opera's case in 1925, in which a lot of that makeup today would be done through CG, in terms of trying to eliminate the nose or to make your lips move to express dialogue. Chaney was very fortunate to have lived in the pantomime era, where he didn't have to rely on how his voice would sound, trying to talk through those dentures, in which case the makeup would probably have to have been more tamed to allow audio recorded dialogue to properly come through.But with regards to the beaver hat makeup, he had thin wires that fitted around his eyes to give it a more hypnotic stare. The teeth, which he had constructed by a personal dentist, eventually had a wire attached to the very top that held the corners of his mouth, opening to a nice curved, fixated, almost joker like grin.You can imagine with the monocles around his eyes, he was thankful there probably wasn't that much wind on a closed set, because he probably couldn't have closed his eyes that many times. But a lot of these things become spoken about and detailed over time with mythic status. That he had to have his eyes operated on to achieve the constant widening of his eyelids. Or the teeth -- he could only wear the teeth for certain periods of time before accidentally biting his tongue or his lips, et cetera. But Chaney certainly wasn't a sadist, with himself, with his makeups. He was very professional. Although he did go through undoubtedly a lot of discomfort, especially probably the most, explicit case would be for the Hunchback of Notre Dame, in which his whole body is crooked down into a stooped position.But, with London After Midnight, I do highly suspect that the inspiration for that makeup in general came from the Dracula novel. And because MGM had not acquired the rights to the Dracula novel, unlike how Universal acquired the rights of the Hunchback or, more importantly, Phantom of the Opera, by which point Gaston Leroux was still alive.It was just a loose adaptation of Dracula. But nevertheless, when you read the description of Dracula in Bram Stoker's novel, he does bear a similarity to Chaney's vampire, in which it's the long hair, a mouth full of sharp teeth, a ghastly pale palor and just dressed all in black and carries around a lantern.Whereas Bela Lugosi takes extraordinary leaps and turns away from the Stoker novel. But it must have definitely had an impact at the time, enough for MGM to over-market the image of Chaney's vampire, which only appears in the film for probably just under four minutes, compared to his detective disguise, which is the real main character of the film.Although the thing we all wanna see is Cheney moving about as the vampire and what facial expressions he pulled. It's just something that we just want to see because it's Lon Chaney.John: Right. And it makes you wonder if he had lived and had gotten to play Dracula, he kind of boxed himself into a corner, then if he'd already used the look from the book, you wonder what he would've come up with, if Lugosi hadn't done it, and if Chaney had had been our first Dracula.Jim: You know, the other thing that I think of strictly like through my actor filter is here's a guy who -- take Hunchback or Phantom or even this thing -- whatever process he went through to put that makeup on, you know, was hours of work, I'm sure. Hunchback several hours of work to get to that, that he did himself, and then they'd film all day.So, on top of, I mean, I just think that that's like, wow, when you think about today where somebody might go into a makeup chair and have two or three people working on them to get the look they want. Even if it took a few hours, that person is just sitting there getting the makeup done. He's doing all of this, and then turns in a full day, uh, in front of the cameras, which to me is like, wow, that's incredible.Daniel: Definitely, it's like two jobs in one. I imagine for an actor it must be really grueling in adapting to a makeup, especially if it's a heavy makeup where it covers the whole of your head or crushes down your nose, changes your lips, the fumes of chemicals going into your eyes.But then by the end of it, I imagine you are quite exhausted from just your head adapting to that. But then you have to go out and act as well. With Chaney, I suppose he could be more of a perfectionist than take as much time as he wanted within reason. And then once he came to the grueling end of it all, he's actually gotta go out and act countless takes. Probably repair a lot of the makeup as well after, after a couple of takes, certainly with things like the Hunchback or the Phantom of the Opera.John: And, you know, it's not only is he doing the makeup and acting, but in, you know, not so much in London After Midnight, but in Phantom of the Opera, he is quite athletic. When the phantom moves, he really moves. He's not stooped. He's got a lot of energy to him and he's got a makeup on that, unlike the Quasimoto makeup, what he's attempting to do with the phantom is, reductive. He's trying to take things away from his face.Daniel: Mm-hmm.John: And he's using all the tricks he knows and lighting to make that happen, but that means he's gotta hit particular marks for the light to hit it just right. And for you to see that his face is as, you know, skull-like as he made it. When you see him, you know, in London After Midnight as the professor inspector character, he has got a normal full man's face. It's a real face. Much like his son, he had a kind of a full face and what he was able to do with a phantom and take all that away, and be as physical as he was, is just phenomenal. I mean, he was a really, besides the makeup, he was a really good actor.Daniel: Oh, definitely. Jim: I agree with that completely. I kind of in what I watched, I wonder if he was the makeup artist, but not the actor and he did exactly the same makeup on somebody else. And so we had the same image. If those things would've resonated with us the way they do today. I think it had everything to do with who he was and his abilities in addition to the incredible makeup. He was just a tremendous performer.Daniel: Absolutely. He was a true multitasker. In his early days of theater, he was not only an actor, but he was a choreographer. He had a lot of jobs behind the scenes as well. Even when he had become a star in his own time, he would still help actors find the character within them. like Norma Sheera, et cetera. People who were kind of new to the movie making scene and the directors didn't really have that much patience with young actors or actresses. Whereas Chaney, because of his clout in the industry, no one really interfered with Chaney's authority on set. But he would really help actors find the character, find the emotion, 'cause it was just all about how well you translate it over for the audience, as opposed to the actor feeling a certain way that convinces themselves that they're the character. Chaney always tried to get the emotions across to the audience. Patsy Ruth Miller, who played Esemerelda in in the Hunchback, said that Chaney directed the film more than the director actually did.The director was actually even suggested by Chaney. So, Chaney really had his hands everywhere in the making of a film. And Patsy Ruth Miller said the thing that she learned from him was that it's the actress's job to make the audience feel how the character's meant to be feeling, and not necessarily the actor to feel what they should be feeling based on the script and the settings and everything.So I think, that's why Chaney in particular stands out, among all of the actors of his time.John: I think he would've transitioned really well into sound. I think, he had everything necessary to make that transition.Jim: There's one sound picture with him in it, isn't there, doesn't he? Doesn't he play a ventriloquist? John: I believe so.Daniel: Yes, it was a remake of The Unholy Three that he had made in 1925 as Echo the ventriloquist, and the gangster. And yes, by the time MGM had decided to pursue talkies -- also, funny enough, they were one of the last studios to transition to, just because they were the most, one, probably the most dominant studio in all of Hollywood, that they didn't feel the pressure to compete with the burgeoning talkie revolution.So they could afford to take their time, they could release a talkie, but then they could release several silent films and the revenue would still be amazing for the studio. Whereas other studios probably had to conform really quick just because they didn't have the star system, that MGM shamelessly flaunted. And several Chaney films had been transitioned to sound at this point with or without Chaney. But for Chaney himself, because he himself was the special effect, it was guaranteed to be a winner even if it had been an original story that isn't as remembered today strictly because people get to hear the thing that's been denied them for all this time, which is Chaney's voice. And he would've transitioned very easily to talkies is because he had a very rich, deep voice, which, coming from theater, he had to have had, in terms of doing dialogue. He wasn't someone like a lot of younger actors who had started out predominantly in feature films who could only pantomime lines. Chaney actually knew how to deliver dialogue, so it did feel natural and it didn't feel read off the page.And he does about five voices in The Unholy Three. So MGM was truly trying to market, his voice for everything that they could. As Mrs. O'Grady, his natural voice, he imitates a parrot and a girl. And yeah, he really would've flourished in the sound era. Jim: Yeah. John: Any surprises, as it sounds like you were researching this for virtually your whole life, but were there any surprises that you came across, as you really dug in about the film?Daniel: With regards to London after Midnight, the main surprise was undoubtedly the -- probably the star chapter of the whole thing -- which is the nitrate frames from an actual destroyed print of the film itself, which sounds crazy to even being able to say it. But, yeah the nitrate frames themselves presented a quandary of questions that just sent me into a whole nother research mode trying to find out where these impossible images came from, who they belonged to, why they even existed, why they specifically existed.Because, looking for something that, you know, you are told doesn't exist. And then to find it, you kind of think someone is watching over you, planting this stuff as though it's the ultimate tease. To find a foreign movie poster for London After Midnight would be one thing, but to find actual pieces of the lost film itself. It was certainly the most out of body experience I've ever had. Just to find something that I set out to find, but then you find it and you still can't believe that you've actually found it.John: How did you find it?Daniel: I had connections with a few foreign archives who would befriend me and took to my enthusiasm with the silent era, and specifically Chaney and all the stars connected to Chaney films.And, quite early on I was told that there were a few photo albums that had various snippets of silent films from Chaney. They didn't really go into what titles these were, 'cause they were just all a jumble. All I knew is that they came from (garbled) widow. And he had acquired prints of the whole films from various, I suppose, junk stores in Spain.But not being a projectionist, he just purely took them at the face value that he just taken the images and snipping them up and putting them in photo albums, like how you would just do with photographs. And then the rest of the material was sadly discarded by fire. So, all we were left with were these snipped relics, survivors almost to several Chaney lost films. Some of them not lost, but there were films like The Phantom of the Opera in there, the Hunchback of Notre Dame, Mockery, The Unknown. But then there were several lost films such as London After Midnight, the Big City, Thunder. And All the Brothers were Valiant, which are mainly other than Thunder are all totally complete lost films.So, to find this little treasure trove, it was just finding out what the images meant and connecting them up, trying to put them in some sort of chronological scholarly order. Grueling, but it was very fun at the same time. And because I had identified myself with all of these surviving production stills from the film -- a lot of them, which formed the basis of the 2002 reconstruction by Turner Classic Movies -- it didn't take me too long to identify what scenes these surviving nitrate frames were from. But there were several frames which had sets that I recognized and costumes that I recognized, but in the photographic stills, they don't occupy the same space at the same time. So, it's like the two separate elements had crossed over. So that left me with a scholarly, question of what I was looking at. I was able to go back and, sort of rectify certain wrongs that have been accepted throughout the sixties as being the original, say, opening to London after Midnight. So I've, been able to disprove a few things that have made the film, I suppose, a bit more puzzling to audiences. Some audiences didn't really get what the plot was to begin with. So, it was nice to actually put a bit more order to the madness finally.John: At what point did you come across the original treatment and the script?Daniel: The treatment and the script, they came from a private collector who had bought them at auction a number of years ago who I was able to thankfully contact, and they still had the two documents in question. I had learned through Philip J Riley's previous books on London after Midnight that he had the two latter drafts of the script, the second edition and the third draft edition.And, again, the question of why and where. I just always wondered where that first draft of the script was, hoping it would contain new scenes, and open new questions for me and to study. And once I've managed to find those two documents, they did present a lot of new, perspectives and material that added to the fuller plot of the original hypnotist scenario, as opposed to the shortened, time efficient London After Midnight film that was ultimately delivered to audiences. So again, it helped to put a little bit more order to the madness.Jim: You found an actual piece of the film that you were able to, somebody got images from it? And then you found the scripts? But the images are terrific and they're all in your book. They came from what exactly?Daniel: The just below 20 images of the film came from originally a distribution print, a Spanish distribution print, from about 1928. Originally, they were on 35 millimeter indicating that they were from the studio and as is with a lot of silent films that have been found in foreign archives.Normally when a film is done with its distribution, it would have to be returned to the original studio to be destroyed, except for the original negative and a studio print, because there is no reason why a studio would need to keep the thousands of prints when they have the pristine copy in their vault. But, in a lot of smaller theater cases, in order to save money on the postage of the shipping, they would just basically declare that they had destroyed the film on the studio's behalf. There was no record system with this stuff and that's how a lot of these films ended up in the basements of old theaters, which are eventually when they closed, the assets were sold off to collectors or traveling showmen. And eventually these films found their ways into archives or again, private collections. Some of which people know what they have.A lot of times they don't know what they have because they're more obsessed with, naturally, more dedicated to preserving the films of their own culture that was shown at the time, as opposed to a foreign American title, which they probably assume they already have a copy of. But it's how a lot of these films get found.And, with the London After Midnight, example, there were the images that I found spanned the entire seven reels, because they came from different points in the film. It wasn't a single strip of film, of a particular scene. Having thankfully the main source that we have for London After Midnight is the cutting continuity, which is the actual film edited down shot for shot, length for length.And it describes, briefly, although descriptive enough, what is actually in each and every single shot of the film. And comparing the single frame images from the film with this document, I was able to identify at what point these frames came from during the film, which again spanned the entire seven reels, indicating that a complete seven reel version of the film had gotten out under the studio system at one point.As is the case, I'm assuming, 'cause these came from the same collection, I'm assuming it was the same with the other lost Chaney films that again, sadly only survive in snippet form.John: It's like somebody was a collector and his wife said, "well, we don't have room for all this. Just take the frames you like and we'll get rid of the rest of it." So, you mentioned in passing the 2002 reconstruction that Turner Classic Movies did using the existing stills. I don't know if they were working from any of the scripts or not. That was the version I originally saw when I was working on writing, those portions of The Misers Dream that mentioned London After Midnight. Based on what you know now, how close is that reconstruction and where do you think they got it right and where'd they get it wrong?Daniel: The 2002, reconstruction, while a very commendable production, it does stray from the original edited film script. Again, the problem that they clearly faced on that production is that there were not enough photographed scenes to convey all the photographed scenes from the film. So what they eventually fell into the trap of doing was having to reuse the same photograph to sometimes convey two separate scenes, sometimes flipping the image to appear on the opposite side of the camera. And, because of the certain lack of stills in certain scenes cases, they had to rewrite them.And sometimes a visual scene had to have been replaced with an inter-title card, merely describing what had happened or describing a certain period in time, as opposed to showing a photograph of what we're meant to be seeing as opposed to just reading. So, they did the best with what they had.But since then, there have been several more images crop up in private collections or in the archives. So, unless a version of the film gets found, it's certainly an endeavor that could be revisited, I think, and either do a new visual reconstruction of sort, or attempt some sort remake of the film even.Jim: That's an idea. John: They certainly have the materials to do that. I've got an odd question. There's one famous image, a still image from the film, showing Chaney as Professor Burke, and he is reaching out to the man in the beaver hat whose back is to us. Is that a promo photo? Spoiler alert, Burke is playing the vampire in the movie. He admits that that's him. So, he never would've met the character. What is the story behind that photo?Daniel: There are actually three photographs depicting that, those characters that you described. There are the two photographs which show Chaney in the Balfor mansion seemingly directing a cloaked, top hatted figure with long hair, with its back towards us. And then there is another photograph of Chaney in the man in the beaver hat disguise with a seemingly twin right beside him outside of a door.Basically the scenes in the film in which Chaney appear to the Hamlin residents, the people who are being preyed upon by the alleged vampires, the scenes where Chaney and the vampire need to coexist in the same space or either appear to be in the same vicinity to affect other characters while at the same time interrogating others, Chaney's character of Burke employs a series of assistants to either dress up as vampires or at certain times dress up as his version of the vampire to parade around and pretend that they are the man in the beaver hat. Those particular shots, though, the vampire was always, photographed from behind rather than the front.The very famous scene, which was the scene that got first got me interested in London After Midnight, in which the maidm played by Polly Moran is in the chair shrieking at Chaney's winged self, hovering over her. It was unfortunate to me to realize that that was actually a flashback scene told from the maid's perspective.And by the end of the film, the maid is revealed to be an informant of Burke, a secret detective also. So, it's really a strong suspension of disbelief has to be employed because the whole scene of Chaney chasing the maid through the house and appearing under the door, that was clearly just the MGMs marketing at work just to show Chaney off in a bizarre makeup with a fantastic costume.Whereas he is predominantly the detective and the scenes where he's not needed to hypnotize a character in the full vampire makeup, he just employs an assistant who parades around in the house as him, all the times with his back turned so that the audience can't latch on as to who the character actually is, 'cause it must have posed quite a fun confusion that how can Chaney be a detective in this room where the maid has just ran from the Vampire, which is also Chaney?John: Yeah, and it doesn't help that the plot is fairly convoluted anyway, and then you add that layer. So, do you think we'll ever see a copy of it? Do you think it's in a basement somewhere?Daniel: I've always personally believed that the film does exist. Not personally out of just an unfounded fanboy wish, but just based on the evidence and examples of other films that have been found throughout time. Metropolis being probably the most prominent case. But, at one point there was nothing on London After Midnight and now there is just short of 20 frames for the film. So, if that can exist currently now in the year 2023, what makes us think that more footage can't be found by, say, 2030? I think with fans, there's such a high expectation that if it's not found in their own lifetime or in their own convenience space of time, it must not exist. There's still a lot of silent lost treasures that just have not been found at all that do exist though. So, with London After Midnight, from a purely realistic standpoint, I've always theorized myself that the film probably does exist in an archive somewhere, but it would probably be a very abridged, foreign condensed version, as opposed to a pristine 35-millimeter print that someone had ripped to safety stock because they knew in the future the film would become the most coveted of all lost films. So, I do believe it does exist. The whole theory of it existing in a private collection and someone's waiting to claim the newfound copyright on it, I think after December of last year, I think it's finally put that theory to rest. I don't think a collector consciously knows they have a copy of it. So, I think it's lost until found personally, but probably within an archive.Jim: Lost until found. That's a great title for a book. I like that a lot. What do you think of the remake, Mark of the Vampire and in your opinion, what does it tell us about, London After Midnight?Daniel: Well, Mark of the Vampire came about again, part of the Sound Revolution. It was one of those because it was Chaney and Todd Browning's most successful film for the studio. And Browning was currently, being held on a tight leash by MGM because of his shocking disaster film Freaks, I suppose they were a little bit nervous about giving him the reign to do what he wanted again. So, looking through their backlog of smash silent hits, London After Midnight seemed the most logical choice to remake, just simply because it was their most, successful collaboration. Had it have been The Unholy Three, I'm sure? Oh no, we already had The Unholy Three, but had it have been another Browning Chaney collaboration, it might have been The Unknown, otherwise. So, I suppose that's why London After Midnight was selected and eventually turned into Mark of the Vampire. The story does not stray too much from London After Midnight, although they seem to complicate it a little bit more by taking the Burke vampire character and turning it this time into three characters played by three different actors, all of which happened to be in cahoots with one another in trying to solve an old murder mystery.It's very atmospherical. You can definitely tell it's got Todd Browning signature on it. It's more pondering with this one why they just did not opt to make a legit, supernatural film, rather than go in the pseudo vampire arena that they pursued in 1927. Where audiences had by now become accustomed to the supernatural with Dracula and Frankenstein in 1931, which no longer relied on a detective trying to find out a certain mystery and has to disguise themselves as a monster.The monster was actually now a real thing in the movies. So I think if Bela Lugosi had been given the chance to have played a real Count Mora as a real vampire, I think it would've been slightly better received as opposed to a dated approach that was clearly now not the fashionable thing to do.I suppose again, because Browning was treading a very thin line with MGM, I suppose he couldn't really stray too far from the original source material. But I find it a very atmospherical film, although I think the story works better as a silent film than it does as a sound film, because there's a lot of silent scenes in that film, away from owls, hooting and armadillos scurrying about and winds. But I do think, based on things like The Cat and The Canary from 1927 and The Last Warning, I just think that detective sleuth with horror overtones serves better to the silent world than it does the sound world away from the legit, supernatural.John: So, if Chaney hadn't died, do you think he would have played Dracula? Do you think he would've been in Freaks? Would Freaks have been more normalized because it had a big name in it like that?Daniel: It would've been interesting if Chaney had played in Freaks. I think because Todd Browning used the kinds of individuals that he used for Freaks, maybe Chaney would've, for a change, had been the most outta place.John: Mm-hmm.Daniel: I do think he might have played Dracula. I think Universal would've had a hell of a time trying to get him over because he had just signed a new contract with MGM, whereas Todd Browning had transferred over to Universal by 1930 and really wanted to make Dracula for many years and probably discussed it with Chaney as far back as 1920.But certainly MGM would not have permitted Chaney to have gone over to Universal, even for a temporary period, without probably demanding a large piece of the action, in a financial sense, because Universal had acquired the rights to Dracula at this point. And, based on the stage play that had, come out on Broadway, it was probably assured that it was going to be a giant moneymaker, based on the success of the Dracula play.But because of Cheney's, status as a, I suppose retrospectively now, as a horror actor, he was probably the first person to be considered for that role by Carl Laemmle, senior and Junior for that matter. And Chaney gone by 1930, it did pose a puzzle as to who could take over these kinds of roles.Chaney was probably the only one to really successfully do it and make the monster an actual box office ingredient more than any other actor at that time, as he did with. Phantom, Blind Bargain and London After Midnight. So, I think to have pursued Chaney for a legit, supernatural film would've had enormous possibilities for Browning and Chaney himself.You can kind of see a trend, a trilogy forming, with Browning, from London After Midnight, in which he incorporates things he used in Dracula in London After Midnight. So, he kind of had this imagery quite early on. So, to go from – despite it's not in that order -- but to have London After Midnight, Mark of the Vampire, and he also did Dracula, he clearly was obsessed with the story. And I think Chaney was probably the, best actor for someone like Browning who complimented his way of thinking and approach to things like silence. As opposed to needing dialogue all the time, loud commotions. So, I think they dovetailed each other quite well, and that's why their ten year director actor relationship was as groundbreaking as it was.Jim: If the film does surface, if we find the film, what do you think people, how are they gonna react to the movie when they see it? What do you think? What's gonna be the reaction if it does surface?Daniel: Well, the lure of London After Midnight, the power in the film is its lost status rather than its widespread availability. I think it could never live up to the expectation that we've built up in our heads over the past 40 to 60 years. It was truly people, fans like Forrest J Ackerman that introduced and reignited the interest in Chaney's career by the late fifties and 1960s. That's when London After Midnight started to make the rounds in rumor, the rumors of a potential print existing, despite the film had not long been destroyed at that point. So, it was always a big mystery. There were always people who wanted to see the film, but with no access to home video, or et cetera, the only way you could probably see the film would've been at the studio who held everything. And, by the time the TV was coming out, a lot of silent films didn't make it to TV. So again, it has just germinated in people's heads probably in a better form than what they actually remembered. But, the true reality of London After Midnight is one more closer to the ground than it is in it's people are probably expecting to see something very supernatural on par with Dracula, whereas it's more so a Sherlock Holmes story with mild horrorish overtones to it that you can kind of see better examples of later on in Dracula in 1930 and in Mark of the Vampire.It's a film purely, I think for Lon Chaney fans. For myself, having read everything I can on the film, everything I've seen on the film, I personally love silent, detective stories, all with a touch of horror. So, I personally would know what I am going in to see. I'm not going in to see Chaney battling a Van Helsing like figure and turn to dust at the very end or turning to a bat. I'm going to see a detective melodrama that happens to have what looks like a vampire. So, it certainly couldn't live up to the expectations in people's minds and it's probably the only film to have had the greatest cheapest, marketing in history, I would think. It's one of those films, if it was discovered, you really would not have to do much marketing to promote it.It's one of those that in every fanzine, magazine, documentary referenced in pop. It has really marketed itself into becoming what I always call the mascot of the genre. There are other more important lost films that have been lost to us. The main one again, which has been found in its more complete form, was Metropolis, which is a better movie.But unlike Metropolis, London After Midnight has a lot more famous ingredients to it. It has a very famous director. It has a very famous actor whose process was legendary even during then. And it's actually the only film in which he actually has his make-up case make a cameo appearance by the very end. And it goes on the thing that everyone in every culture loves, which is the vampirism, the dark tales and folklore. So, when you say it, it just gets your imagination going. Whereas I think if you are watching it, it's probably you'll be looking over the projector to see if something even better is going to happen.The film had its mixed reactions when it originally came out. People liked it because it gave them that cheap thrill of being a very atmospherical, haunted house with the creepy figures of Chaney walking across those dusty hallways. But then the more important story is a murder mystery.It's not Dracula, but it has its own things going for it. I always kind of harken it back to the search for the Lochness Monster or Bigfoot. It has more power in your mind than it does in an aquarium or in a zoo. Hearing someone say that they think they saw something moving around in Lochness, but there's no photographic evidence, you just have the oral story, that is much more tangible in a way than actually seeing it in an aquarium where you can take it for granted. And it's the same with London After Midnight, and I think that's why a lot of hoaxster and pranksters tend to say that they have seen London After Midnight more than any other lost film.Jim: For a film that I would say the majority of the world does not have any frame of reference, and I'm using myself as the sort of blueprint for that, no frame of reference for this film. That image is iconic in a way that has been, I mean, it at first glance could be Jack the Ripper. I was talking to John before we started the podcast, once I locked in on that image, then I started to think, oh, the ghosts in Disney's Haunted Mansion, there's a couple of ghosts that have elements of that. I mean, it was so perfectly done, even though we don't, I bet you nine out ten people don't know the title London After Midnight, but I bet you seven outta ten people know this image.Daniel: Definitely, it has certainly made its mark on pop culture, again, I think because I think it's such a beautiful, simplistic design. Everything from the simplistically [garbled] to the bulging eyes and the very nice top hat as well, which is in itself today considered a very odd accessory for a grotesque, vampire character.But it's one of those things that has really carried over. It's influenced what the movies and artists. It was one of the influences for the Babadook creation for that particular monster. It was an influence on the Black Phone. It's just a perfect frame of reference for movie makers and sculptors and artists to keep taking from.John: Yep. It's, it'll live long beyond us. Daniel, one last question. I read somewhere or heard somewhere. You're next gonna tackle James Whale, is that correct? Daniel: James Whale is a subject, again, coming from, I happen to come from the exact same town that he was born and raised in, in Dudley, England. So, it's always been a subject close to home for me, which is quite convenient because I love his movies. So, I'm hoping to eventually, hopefully plan a documentary feature on him, based on a lot of family material in the surrounding areas that I was able to hunt down, and forgotten histories about him and just put it together in some form, hopefully in the future.John: That would be fantastic, and we'll have you back at that point.Jim: So, let's pretend for a minute that the audience is me, and they'd have absolutely no idea who James Whale is or what he's done. Just for a minute, let's pretend.John: Pretend that you don't know that?Jim: Yeah.Daniel: James Whale is the most known for his work for directing Frankenstein with Boris Karloff in 1931. But he also directed probably some of the most important horror films that have ever existed in the history of motion pictures. The Old Dark House, which can be cited with its very atmospherical, and black comedy tones, The Invisible Man with Claude Rains and Gloria Stewart in 1933. And, the most important one, which is probably the grand jewel in the whole of the Universal Monsters Empire, which is Bride of Frankenstein in 1935, which is the ultimate, example of everything that he had studied, everything that he'd learned with regards to cinema and comedy, life and death, and just making a very delicious cocktail of a movie in all of its black comedy, horrific, forms that we're still asking questions about today. One of his first films that he did was for Howard Hughes Hell's Angels, in which -- because he'd coming over from theater -- when again, films in America were taken off with the sound revolution. They all of a sudden needed British directors to translate English dialogue better than the actors could convey.So, James Whale was one of many to be taken over to America when he had a hit play called Journeys End, which became the most successful war play at that point. And he did his own film adaptation of Journeys End. He also did a really remarkable film called Showboat, which is another very iconic film.And again, someone with James Whale's horror credentials, you just think, how could someone who directed Frankenstein directed Showboat? But, clearly a very, very talented director who clearly could not be pigeonholed at the time as a strictly horror director, despite it is the horror films in which he is remembered for, understandably so, just because they contain his very individualistic wit and humor and his outlooks on life and politics. And being an openly gay director at the time, he really was a force unto himself. He was a very modern man even then.

Episode 27: Haunted Houses Part One This episode was recorded on April 13, 2024 and posted on June 1, 2024.  Content Warning: Light vulgarity. Introduction Welcome to No Bodies Episode 27 Introductions to your Ghosts Hosts with the Most - Lonely of Lonely Horror Club and Projectile Varmint aka Suzie Introductions to our guests Rob & Suz of Spooky AF Today's Topic: Haunted Houses Defining the Haunted House Subgenre What defines a haunted house film? Are ghosts and hauntings real? What makes a house “haunted?” This Week's Coroner's Report Do you believe in ghosts? Have you ever had a paranormal experience? Film Discussion Haunted House Classics House on Haunted Hill (1959) The Old Dark House (1932) The Golden Age of Haunted House Films The Changeling (1980) Burnt Offerings (1973) Poltergeist (1982) Beetlejuice (1988) Thank you to our guests! Follow Rob & Suz's show Spooky AF, whenever you get your podcasts. Rob & Suz on Instagram at @thespookyafpod.  Keep Up with Your Hosts Check out our instagram antics and drop a follow @nobodieshorrorpodcast.  Take part in our new audience engagement challenge - The Coroner's Report! Comment, share, or interact with any Coroner's Report post on our socials to be featured in an upcoming episode.  Projectile Varmint - keep up with Suzie's film musings on Instagram @projectile__varmint Lonely - read more from Lonely and keep up with her filmstagram chaos @lonelyhorrorclub on Instagram and www.lonelyhorrorclub.com. Original No Bodies Theme music by Jacob Pini. Need music? Find Jacob on Instagram at @jacob.pini for rates and tell him No Bodies sent you!  Leave us a message at (617) 431-4322‬ and we just might answer you on the show! Sources McDaniel, M. C. (1982). There's no place like home: The Haunted House as literary motif [Masters Thesis, Eastern Illinois University]. https://thekeep.eiu.edu/cgi/viewcontent.cgi?article=3992&context=theses Michlin, M. (2012). The Haunted House in contemporary filmic and literary Gothic narratives of trauma. Transatlantica, 1. https://doi.org/10.4000/transatlantica.5933 Mills, M. (2023, October 25). The 20 best haunted house movies, ranked. The A.V. Club. https://www.avclub.com/20-best-haunted-house-movies-ranked-1850661917 Things that go bump in the literature: An environmental appraisal of “Haunted Houses.” (2020). Frontiers in Psychology. https://doi.org/10.3389/fpsyg.2020.01328

This week Harrison will be discussing "The Old Dark House (1932)" #theolddarkhouse #boriskarloff #charleslaughton #jameswhale #reelyoldmovies Theme Song: "The Good For Nothing" starring Charlie Chaplin Released 1914 https://youtu.be/3RKsuoX_bnU Social Media Links: https://linktr.ee/reelyoldmovies --- Send in a voice message: https://podcasters.spotify.com/pod/show/reelyoldmovies/message

The gang seek shelter in 1932's "The Old Dark House" and have a grand old time with the denizens and travelers found within, though Dave has to call from the future a few times. Scott's hot shot cocktail was a hit. "Fire Bug" cocktail1 oz. Brandy1 oz Pear liqueur 1 Tsp. Golden RumInstructions:Pour brandy and liquor into a shot glass. Heat and ignite rum in a spoon, and add to the glass. Extinguish flame, and serve.Visit our website:http://www.monstermoviehappyhour.com/Chat with us on Facebook:https://www.facebook.com/monstersndri...Our Twitter:https://twitter.com/monstersndrinksMusic created by Kevin MacLeod.You can hear more of his work at:https://incompetech.com/wordpress/author/kevin/

This week we're back to discuss what some have called the greatest horror movie of all time, and what might be the birth of queer cinema: THE BRIDE OF FRANKENSTEIN. In the years following Frankenstein's success, James Whale would go on to put his campy, humorous touch on horror classics The Old Dark House and The Invisible Man before returning to create his masterpiece. Meanwhile Boris Karloff elevated from a struggling bit player to receiving top-of-the-bill status in a string of successes. Of course, no discussion would be complete without discussing the immeasurable impact Elsa Lanchester made with mere minutes of screen time as the titular Bride. With her lightning bolt updo, and a hiss inspired by protective swans, Lanchester delivered one of the most memorable monsters i Universal cannon. The sequel adds humor to the gothic horror, and goes bigger in every way: there's a larger body count, a larger cast, more elaborate sets, and even more fantastical special effects. We're joined by guest Ygraine (What a Scream Podcast) for the first half of our two-parter on Bride.  Please read Brian's "Faces of Frankenstein: The Innovation and Influence of James Whale's Frankenstein" or more information on this seminal film.     If you like what you're listening to make sure to subscribe wherever you get your podcast feeds.    Please take a moment to rate and review us on the Apple Podcast app, or rate us on the Spotify app. Reviews and five star ratings help new listeners find us every day, and we greatly appreciate the feedback and support.    Check out our website for easy access to our full catalog of shows, with hundreds of hours of free content. You can search the catalog, leave a review and even leave us feedback all from the site. Go to www.podandthependulum.com to check it out.  If you have the means, consider becoming a patron today and support the show. Patreon members get exclusive full length episodes, audio fan commentaries, exclusive mini-sodes and more. Join today at patreon.com/podandthependulum.

E-mail us at DreamWarriorReview@gmail.com or check us out on Twitter - @DWReview or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook/DWReview⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Don't forget to follow us and send us your comments!! Be sure to check us out on YouTube if you want to see our pretty faces! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCfMH4aYtCSUTf4ej8BnktFQ/videos⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ In this episode: "The Old Dark House" (1932) Thanks to Cryptamnesia for providing awesome music! Check out  Cryptamnesia out at the following link and check out their music! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://cryptamnesia.bandcamp.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Thanks Brandon Lane For providing our amazing logo! For more info on his Rants From the Black Lodge Podcast...check out this link! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠juicykrueger.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Thanks Niev Strawn for providing great graphics, we have never looked better! The Dream Warrior Review podcast series with Mick Strawn and Kurt Thomas. Featuring Reviews of Horror and Science Fiction Films. Also Featuring Story Time With Mick and sometimes Story Time with Kurt. E-mail us at DreamWarriorReview@gmail.com or check us out on Twitter or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook@DWReview⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Don't forget to follow us and send us your comments!

The Festival demands a second episode! Because, well, it's not over. Get ready for letters I-Q, featuring Martians, a minister's wife becoming a vampire, a deadly web comic, a mysterious lodger, a vile prince from Poe, two movies that involve an inheritance, an anatomical dummy, and sinister doppelgangers! Listen in as we discuss:Invaders From Mars (1953)Jakob's Wife (2021)Killer Toon (2013)The Lodger (1927)The Masque of the Red Death (1964)Next of Kin (1982)The Old Dark House (1963)Pin (1988)Qorin (2022)The 19th Annual A-Z of Horror Festival continues...

The Bally-BOO brings forth another ghastly tale as October carries on! Zach welcomes back filmmaker and podcaster Sterling Cook (CFVA,Continue readingEp. 117: The Old Dark House (1932) or ‘Have a Potato'

#399-- For this week's installment of the 2023 SPOOKTAGON, we talk the certified Criterion classic, ONIBABA from 1964. A great, little pot-boiler about jealousy, carnage, greed, and, of course, evil old women. A tale as old as time. We also talk about AHSOKA (2023) and how much I hate it (see Seawall.substack.com), Masaki Kobayahi's THE HUMAN CONDITION PART 1: NO GREATER LOVE (1959), and THE OLD DARK HOUSE (1932) on the Criterion Channel. Support your local unions! UAW, SAG-AFTRA, and WGA strong! Donate to the cause at Patreon.com/Quality. Follow the show on Twitter @AQualityInterruption, and James on Twitter @kislingtwits, on Bluesky at kislingconnection.bsky, on Instagram @kislingwhatsit, and on Tiktok @kislingkino. You can watch Cruz and show favorite Alexis Simpson on You Tube in "They Live Together." Thanks to our artists Julius Tanag (http://www.juliustanag.com) and Sef Joosten (http://spexdoodles.tumblr.com). The theme music is "Eine Kleine Sheissemusik" by Drew Alexander. Listen to DRACULA: A RADIO PLAY on Apple Podcasts, at dracularadio.podbean.com, and at the Long Beach Playhouse at https://lbplayhouse.org/show/dracula And, as always, please leave us a review on iTunes or whatever podcatcher you listened to us on!

New Filmsuck episode! A Halloween celebration of Boris Karloff in two of his pre-Code films: THE OLD DARK HOUSE and THE BLACK CAT! He's best known for FRANKENSTEIN, but Karloff gave so many great performances, it's a good time to appreciate his range. Many of his films are widely available, but these two more obscure ones are part of the current Criterion Channel "Per-Code Horror" series.

Join Ryan and I for a Minisode on 1932's The Old Dark House, starring Boris Karloff and Gloria Stuart. Have a potato! Support us on Patreon here: https://www.patreon.com/ConnerandSmith?utm_campaign=creatorshare_creator --- Send in a voice message: https://podcasters.spotify.com/pod/show/connerandsmithshow/message

Pax takes Mike and Shawn on a tour through The Old Dark House from 1932, starring Boris Karloff, Gloria Stuart, and directed by James Whale.

Michael, Paxton and Shawn are back this week taking a look at another in a series of Old Dark House films. This time Michael leads the conversation on our first silent film, 1926's The Bat.

On the latest episode of the Crestwood House, hosts Shawn, Michael, and Paxton delve into the world of William Castle with his spectral Old Dark House flick 13 Ghosts from 1960.

Okay, we're getting classy this week with James Whales The Old Dark House, based on the novel Benighted by J.B. Priestley. We delve into the queerness, the horniness and the weirdness of this classic Universal Horror. Have a potato.   Do your bit: Support Final Transmission on Patreon Follow us on Instagram Follow the Spotify playlist Check out Red Scare Industries Artwork by Dismay Design

Sarah and Carrie are joined by Chattanooga Film Fest Director Chris Dortch to talk the 1932 Boris Karloff classic The Old Dark House. We talk roast beef, the saddest potatoes you've ever seen, flipped tables, British gin, and more!

On Truth & Movies this week, we take a look at the family-friendly scares that inhabit Justin Simen's Haunted Mansion, and host Leila Latif interviewed the director. We also review the transatlantic rom-com Red White And Royal Blue. Finally, for film club, its a return to another spooky home in 1932's The Old Dark House.Joining host Leila Latif are film critic Charles Bramesco and critic, programmer, podcaster and all-around film expert Anna Bogutskaya.Truth & Movies is the podcast from the film experts at Little White Lies, where along with selected colleagues and friends, they discuss the latest movie releases. Truth & Movies has all your film needs covered, reviewing the latest releases big and small, talking to some of the most exciting filmmakers, keeping you across important industry news, and reassessing great films from days gone by with the Truth & Movies Film Club.Email: truthandmovies@tcolondon.comTwitter and Instagram: @LWLies Hosted on Acast. See acast.com/privacy for more information.

The Ghost & Mrs Muir (1947) / La Maldición de la Llorona (1963) This week we're renting a pair of drafty houses as we try to reverse the curse in Rafael Baledón's haunted hacienda and unexpectedly fall in love with Joe Mankiewicz's seaside cottage

Mitch welcomes special guests Daniel Epler and Hayden Gilbert to the show to discuss two Haunted House films, THE UNINVITED (1944) and THE HOUSE BY THE CEMETERY (1981). Other titles discussed include: THE CURSE OF BRIDGE HOLLOW (2022), SCREAMERS (1995), INSIDIOUS: THE RED DOOR, MAXIMUM OVERDRIVE (1986), DARK NIGHT OF THE SCARECROW (1981), NIGHTMARES (1983), HOUSE OF USHER (1960), THE HAUNTED PALACE (1963), DYLAN'S NEW NIGHTMARE, SMALL TOWN MONSTERS and THE OLD DARK HOUSE (1932).   Follow Daniel The Cobwebs YouTube channel: https://www.youtube.com/@cobwebschannel  Instagram: https://www.instagram.com/cobwebspod/ Twitter: @cobwebspod Letterboxd: Dan_Epler     Follow Hayden Gilbert: Instagram: https://www.instagram.com/haydencomesalive/ Letterboxd: Hayden Comes Alive

Welcome back to Fright School! We're back on our Queer horror kick this week! First let us introduce you to Altan Tealeaf during our Dungeons and Dragons chat. This week we discuss the Queer things going on in THE OLD DARK HOUSE! We discuss Post WWI pessimism, repression depression, and why Straights rush in. This one is all about laughter and sin- what could be more PRIDE than that?! Learn more about your ad choices. Visit megaphone.fm/adchoices

Chris and DK discuss Indiana Jones and the Dial of Destiny! But first, the guys go over some other things they've seen and read including the Department of Truth, The Gorgon, The Old Dark House, and the Sound of Freedom You can now WATCH THIS SHOW on YouTube! www.youtube.com/channel/UCmLb9wl70wrca7d6aZy2dEg Join our Discord and chat with us and other listeners!: discord.gg/mHQZd47xvy Get us on Twitter @geekssinks @dkrefft and @cdstein69 Like us on Facebook and get into the conversation! Email us at nerdsgeekssinks@gmail.com Check out our online store for MERCH! www.redbubble.com/people/nerdsgeekssinks

Mrparka's Weekly Reviews and Update Week 320 (07.01.2023) Iron Prefect, Dr. Caligari 4K Night Screams 4K www.youtube.com/mrparka https://www.instagram.com/mrparka/ https://twitter.com/mrparka00 http://www.screamingtoilet.com/dvd--blu-ray https://www.facebook.com/mrparka https://www.facebook.com/screamingpotty/ ​https://letterboxd.com/mrparka/ ​https://www.patreon.com/mrparka https://open.spotify.com/show/2oJbmHxOPfYIl92x5g6ogK https://anchor.fm/mrparka https://www.stitcher.com/show/shut-up-brandon-podcast https://podcasts.apple.com/us/podcast/mrparkas-weekly-reviews-and-update-the-secret-top-10/id1615278571   Time Stamps 0:00 “The Iron Prefect” Review – 0:15 “A Question of Silence” Review – 4:55 “Netherworld” Review – 8:23 “Beneath the Old Dark House” Review – 12:36 “Dr. Caligari” 4K Review – 16:31 “Night Screams” 4K Review– 20:33 1981 “The Other Hell” Review – 23:43 1981 “Inseminoid” Review – 30:32 Patreon Pick “Homicidal” Review – 33:14 Questions/ Answers– 35:43 Update – 40:47 22 Shots of Moodz and Horror – https://www.22shotsofmoodzandhorror.com/ Podcast Under the Stairs – https://tputscast.com/podcast ​Video Version – https://youtu.be/hM15fpQ5gaA     Links Radiance Films – https://radiancefilms.us/ “The Iron Prefect” Blu-Ray – https://mvdshop.com/products/the-iron-prefect-limited-edition-blu-ray Cult Epics – https://www.cultepics.com/ “A Question of Silence” Blu-Ray – https://mvdshop.com/products/a-question-of-silence-blu-ray Full Moon Entertainment – https://www.fullmoondirect.com/ “Netherworld” Blu-Ray – https://mvdshop.com/products/netherworld-remastered-blu-ray Scream Team Releasing – https://screamteamreleasing.com/ “Beneath the Old Dark House” Blu-Ray – https://mvdshop.com/products/beneath-the-old-dark-house-blu-ray Mondo Macabro – https://mondomacabro.bigcartel.com/ “Dr. Caligari” Blu-Ray – https://www.amazon.com/Dr-Caligari-Blu-ray/dp/B0C3WBV8XW  Vinegar Syndrome – https://vinegarsyndrome.com/ “Night Screams” 4K – https://www.amazon.com/Night-Screams-4K-Blu-ray/dp/B0C796PPTT Severin Films – https://severinfilms.com/ “The Other Hell” Blu-Ray – https://severinfilms.com/products/the-other-hell-bluray “inseminoid” Blu-Ray – https://shoutfactory.com/products/inseminoid “Homicidal/ Dr. Sardonicus” Blu-Ray – https://www.amazon.com/William-Castle-Double-Feature-Sardonicus/dp/B01EYY127C   Update 4K 1.       Bubba Ho-Tep 2.       The People Under the Stairs 3.       For a Few Dollars More 4.       A Fistful of Dollars 5.       Dressed to Kill BootlegBlu-Ray 6.       Lost Souls   Film Notes The Iron Prefect – 1977 – Pasquale Squitieri A Question of Silence – 1982 – Marleen Gorris Netherworld – 1992 – David Schmoeller Beneath the Old Dark House – 2022 – Matt Cloude Dr. Caligari – 1989 – Stephen Sayadian Night Screams – 1987 – Allen Plone The Other Hell – 1981 – Bruno Mattei Inseminoid– 1981 – Norman J. Warren Homicidal – 1961 – William Castle --- Support this podcast: https://podcasters.spotify.com/pod/show/mrparka/support

Bring Me The Axe closes out their Pride 2023 series with an enthusiastic love letter to James Whale's 1932 pre-code classic for Universal, The Old Dark House, a movie about class consciousness, secrecy, Lilian Bond's feet, and super gay double entendres. It is a perfectly executed piece of gothic horror starring Boris Karloff that must be seen to be believed. Trailer: https://www.youtube.com/watch?v=WqhzhNoTKps Follow us on: Bluesky Instagram Twitch Twitter And be sure to visit our sweet-ass website! --- Send in a voice message: https://podcasters.spotify.com/pod/show/bring-me-the-axe/message

The Fellowship is pleased to present our discussion of the X-Men and their 60 years in existence. Talk about a long and storied history - this title and this team have been there and done that. Plus our usual random talk, geek news, and tangents

Andy and Philip continue their pride month celebration of OG horror daddy James Whale with a spotlight on his often eclipsed horror comedy masterpiece: The Old Dark House (1932). We take shelter with the Femme family in their crumbling abode - once teeming with laughter and sin, but now drenched in repression and anxiety - to see what secrets might be hiding in their closets (or attic)…and to hopefully have a potato.

We lace up with Ben Affleck's Air and also sweat it out with a retro review of Flashdance. Plus, we also talk Renfield, Full Swing, Star Trek: Picard and Rabid. Ryan's website: rlterryreelview.com Follow the show on Twitter: @thecinemaspeak Follow the show on Instagram: cinemaspeakpodcast Subscribe on Youtube: Cinema Speak Intro: 0:00 - 9:02 Review - Air: 9:02 - 44:09 Retro Review - Flashdance: 44:09 - 1:16:03 Micro-Reviews - Renfield, Dungeons and Dragons: Honor Among Thieves, This Island Earth, The Old Dark House, Star Trek: Picard, Rabid, Full Swing: 1:16:03 - 1:40:44 This week in new releases/Outro: 1:40:44 - 1:47:15

Welcome to It's A Wonderful Podcast!! An under-discussed, unusual, and entirely entertaining part of the Universal Horror cycle of the early 1930s on this week's main show as Morgan and Jeannine discuss James Whale's follow up to 1931's Frankenstein, THE OLD DARK HOUSE (1932) starring a stacked cast including Boris Karloff, Melvyn Douglas, Gloria Stuart, Lilian Bond, Raymond Massey, Ernest Thesiger, Eva Moore and a big welcome back to It's A Wonderful Podcast for the great Charles Laughton!! Our Youtube Channel for Monday Madness on video, Watchalongs, Live Discussions & more: ⁠⁠⁠⁠https://www.youtube.com/channel/UCvACMX8jX1qQ5ClrGW53vow⁠⁠⁠⁠ The It's A Wonderful Podcast Theme by David B. Music. Donate: ⁠⁠⁠⁠https://www.buymeacoffee.com/ItsAWonderful1⁠⁠⁠⁠ Join our Patreon: ⁠⁠⁠⁠https://www.patreon.com/ItsAWonderful1⁠⁠⁠⁠ IT'S A WONDERFUL PODCAST STORE:  ⁠⁠⁠⁠https://its-a-wonderful-podcast.creator-spring.com/⁠⁠⁠⁠ Sub to the feed and download now on Anchor, Apple Podcasts, Spotify, Stitcher, Google Podcasts, Castbox, Amazon Music & more and be sure to rate, review and SHARE AROUND!! Keep up with us on Twitter: Podcast: ⁠⁠⁠⁠https://twitter.com/ItsAWonderful1⁠⁠⁠⁠ Morgan: ⁠⁠⁠⁠https://twitter.com/Th3PurpleDon⁠⁠⁠⁠ Jeannine: ⁠⁠⁠⁠https://twitter.com/JeannineDaBean⁠⁠⁠⁠ Keep being wonderful!! --- Send in a voice message: https://podcasters.spotify.com/pod/show/itsawonderfulpodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/itsawonderfulpodcast/support

We followed Charles Laughton to The Old Dark House (1932) and we had a potato, smashed a lamp, and had a boring romance. Join us, won't you?

"HAVE A POTATO!" This week Mike is joined by James Swanton to discuss two GEMS of the sub-genre from world of 1930s Universal horror...James Whale's The Old Dark House (1932) and Lew Landers' The Raven (1935).  Music by Jack Whitney.  Visit our website www.evolutionofhorror.com  Keep an eye on all our UPCOMING EVENTS Buy tickets for our next upcoming EVOLUTION OF HORROR PRESENTS screening at the Genesis Cinema! www.evolutionofhorror.com/genesis You can now buy Evolution of Horror merch on our TeePublic store! www.evolutionofhorror.com/merchandise Subscribe and donate on PATREON for bonus monthly content and extra treats... www.patreon.com/evolutionofhorror  Email us!  Follow us on TWITTER Follow us on INSTAGRAM Like us on FACEBOOK Join the DISCUSSION GROUP Join the DISCORD Follow us on LETTERBOXD Mike Muncer is a producer, podcaster and film journalist and can be found on TWITTER  

Approachability:  9/10 ( Spooky, smart, sometimes surreal pre-code thriller ) Content Warnings: General spookiness Next Week's Film  RandomHorror9 T-Shirts! Hosts: Jeffrey Cranor & Cecil Baldwin (Find more of our work on Welcome to Night Vale) Editing: Grant Stewart Logo: David Baldwin Random Horror 9 Patreon Twitter, Letterboxd, & Instagram: @RandomHorror9 We are part of Night Vale Presents