The Mole People (1956)

The Mole People is a 1956 science fiction film directed by Virgil W. Vogel. The film begins with a narration by Dr. Frank Baxter, an English professor at the University of Southern California, explaining the premise of the movie and its basis in reality. He briefly discusses the hollow earth theories of John Symmes and Cyrus Teed among others, and says that the movie is a fictionalized representation of this unorthodox point-of-view. In this movie, archaeologists Dr. Roger Bentley and Dr. Jud Bellamin stumble upon a race of Sumerian albinos living deep under the Earth. They keep mutant humanoid mole men as their slaves to harvest mushrooms, their primary food source, since they can grow without sunlight. The Sumerian albinos' ancestors moved into the subterranean after the cataclysmic floods in ancient Mesopotamia. Whenever their population increases, they sacrifice old people to the Eye of Ishtar, which is really natural light coming from the surface. These people have lived underground for so long that they are weakened by bright light which the archaeologists brought in the form of a flashlight. However, there is one girl who has natural Caucasian skin who is disdained by the others. They believe the men are messengers of Ishtar, their goddess. When one of the archaeologists is killed by a mole Person, Elinor, the High Priest realizes they are not gods. He orders their capture and takes the flashlight to control the Mole People, not knowing it is depleted. The archaeologists are then sent to the Eye just as the Mole People rebel. The girl goes to the Eye only to realize its true nature and the men had survived. They then leave for the surface. Unfortunately, the girl dies after reaching the surface, when an earthquake causes a column to fall over and crush her. The role of Elinor, High Priest of the Sumerians, is acted by Alan Napier who also played Alfred on the Batman television show. Hugh Beaumont is cast as Dr. Jud Bellamin. Beaumont's most famous role was as father Ward Cleaver in the Leave It To Beaver television show series (1957-1963)

From Wikipedia

THE MOLE PEOPLE
VIRGIL W, VOGEL  (1956)
76 MIN
USA

Rolling Stones : Wild Horses - Knebworth 1976

"You wanna hear a sad sad song?" asks Mick to the crowd at Knebworth, as they headlined the Knebworth festival in Hertfordshire, UK, on 21st August 1976. There were 200,000 in the crowd that night, amongst them Paul and Linda McCartney. Also on the bill were Lynyrd Skynyrd, 10CC and Todd Rundgren.  The question of whether the song is genuinely sad is debatable. It started with riff and a phrase from Keith that fitted, because he was 'doing good at home with his old lady'. Undoubtedly poignant and wistful, almost to a fault, it turned into one of the great love songs of all time. In an awesome performance, the question occurs: is this one of Ronnie’s best solos ever? Many think so.

This is something that I found on the stones website that I thought I would add to the archives.


WILD HORSES : ROLLING STONES :  LIVE KNEBWORTH 1976
ROLLING STONES (1976)
6:38
UK

Tarantula (1955)

Tarantula is a 1955 science fiction film directed by Jack Arnold, and starring Leo G. Carroll, John Agar, and Mara Corday. Among other things, the film is notable for the appearance of a 25-year-old Clint Eastwood in an uncredited role as a jet pilot at the end of the film. The plot concerns a biological researcher, Professor Gerald Deemer, who is trying to prevent the food shortages which will result from the world's expanding population. With the help of atomic science, he invents a special nutrient on which animals can live exclusively, but which causes them to grow to many times their normal size. In his laboratory, he houses several oversized rodents and, inexplicably, a Mexican red rumped tarantula. When his researchers try the nutrient, they develop runaway acromegaly. One of them is driven mad, half destroys the lab (freeing the animals), and attacks Deemer, injecting him with the solution. The tarantula is one of the creatures freed. As a result, Deemer gradually becomes more and more deformed while the now-gigantic tarantula ravages the countryside. A sympathetic doctor and Deemer's female assistant investigate the mystery of the clean-picked cattle bones and the eight-foot pools of arachnid venom, and the spider is eventually destroyed, after several failed attempts, by a napalm attack launched from a fighter squadron.

The film's poster, featuring a spider with two eyes instead of the normal eight, and carrying a woman in its fangs, does not represent any actual scene in the film.

From Wikipedia

TARANTULA
JACK ARNOLD  (1955)
76 MIN
USA

Man With a Camera: Two Strings of Pearls (1958)

Man with a Camera was a television program that ran on ABC from 1958/60 Throughout the 1950s, Charles Bronson spent most of his early acting career in TV-shows as well as small parts in films, until he landed the lead in the ABC series. In the series Bronson portrayed Mike Kovac, a former World War II combat photographer freelancing in New York City, who specialized in getting the photographs that other lensmen could not. He usually assisted newspapers, insurance companies, the police and private individuals, all of whom wanted a filmed record of an event. By often acting as a private eye, Kovac gets himself into plenty of troubles involving criminals of every kind, helping with cases the police could not handle. Besides an array of cameras for normal use, for surreptitious work he employed cameras hidden in a radio, cigarette lighter and even his necktie. He also had a phone in his car, and a portable darkroom in the trunk where he could develop his negatives in the spot. Kovac's police liaison was Lieutenant Donovan (James Flavin), though he frequently came for advice from Anton Kovac (Ludwig Stössel), his immigrant father.



Man with a Camera : Two Strings of Pearls - episode # 9  Original Air Date: 12 December 1958
Mike agrees to cover a garden party in Rome and meets a woman who is using a different name than when first encountered each other on a trans-Atlantic flight four years earlier. Mike learns she is connected with a notorious American con artist who is trying to steal an expensive string of yellow pearls.




MAN WITH A CAMERA : A STRING OF PEARLS
GERALD MAYER  (1958)
ABC TELEVISION
25 :46
USA
DOWNLOAD / MPEG4 / 301 MB

The Day of the Triffids (1962)

The Day of the Triffids is a 1962 British film adaptation of the science fiction novel of the same name by John Wyndham. It was directed by Steve Sekely, and Howard Keel played the central character, Bill Masen.[1] The movie was filmed in colour with monaural sound and ran for 93 minutes.
A shower of meteorites produces a glow that blinds anyone that looks at it. As it was such a beautiful sight, most people were watching, and as a consequence, 99% of the population go blind. In the original novel, this chaos results in the escape of some Triffids: experimental plants that are capable of moving themselves around and attacking people. In the film version, however, the Triffids are not experimental plants. Instead they are space aliens whose spores have arrived in an earlier meteor shower Triffeds are strange fictional plants, capable of rudimentary animal-like behaviour: they are able to uproot themselves and walk, possess a deadly whip-like poisonous sting, and may even have the ability to communicate with each other. On screen they vaguely resemble gigantic asparagus shoots. Bill Masen (Howard Keel), a merchant navy officer, begins the story in hospital, with his eyes bandaged. He discovers that while he has been blindfolded due to an accident, an unusual meteor shower has blinded most people on Earth. Masen finds people in London struggling to stay alive in the face of their new, instantly-acquired affliction, some cooperating, some fighting: after just a few days society is collapsing. He rescues a school girl, Susan (Janina Faye), from a crashed train. They leave London and head for France. They find refuge at a chateau, but when it is attacked by sighted prisoners they are again forced to escape. Even though the Triffid population continues to grow. Meanwhile on a coastal island, Tom Goodwin (Kieron Moore) a flawed but gifted scientist, battles the plants as he searches for a way to beat them.  From Wikipedia,


DAY OF THE TRIFFIDS
STEVE SEKELY  (1962)
93 MIN
UK

Sex Hygiene (1942)

Several servicemen relax by playing pool, but one of them goes off to spend time with a prostitute. Later, he discovers he has contracted a venereal disease. A graphic and frank presentation of the types and treatment of venereal disease follows.

Every GI who has ever seen this never forgets it. Even though it was made in 1941, it was shown to new soldiers on a regular basis for at least 25 years, and I know of one ex-GI who saw it when he enlisted in 1970. It could well be showing now, for all I know. The film is interesting because it is far better produced and acted than virtually any other training film ever made. It was directed by John Ford, produced by Darryl Zanuck, and featured professional Hollywood actors of the caliber of Robert Lowery and George Reeves. If that wasn't enough to set it apart from the run-of-the-mill training film, then the footage of diseased faces, lips and other body parts was. Even more horrifying than that, though (for a newly enlisted 18- or 19-year-old, at least) was the footage of what someone who was suspected of having syphilis (which, by 1941 morality, meant anyone who had sexual contact of any kind) had to go through. Soldiers were required to report any sexual contact they may have had, and had to be examined by a doctor and given preventive "treatment" (which involved a procedure too graphic and, frankly, nauseating to describe here). The film served its purpose, temporarily at least--if Hedy Lamar and Betty Grable had shown up naked outside the theater after this film was shown, no soldier would have gone within 50 feet of them. Of course, that would have lasted for all of 10 minutes.

ONE OF THE MOST SHOCKING FILM EVERS MADE ON THE SUBJECT OF VD:



SEX HYGIENE
JOHN FORD  (1942)
26 MIN
USA
DOWNLOAD / MPEG2 / 982 MB

Motorpsycho (1965)

Motorpsycho or Motor Psycho is a 1965 film by Russ Meyer. Made just before the better-known Faster, Pussycat! Kill! Kill! (1965), the film explores similar themes of sex and violence. This film deals with a male motorcycle gang, unlike the female gang of go-go dancers in Faster, Pussycat! Kill! Kill! The film is notable for containing one of the first portrayals of a disturbed Vietnam veteran character. A motorcycle gang of three young men, led by Vietnam War veteran Brahmin (Stephen Oliver), are headed for Las Vegas, but before they get there, they head straight into trouble. Brahmin spots a young woman sunbathing, creeps up on her and kisses her, and when she screams for her fisherman husband, he gets into a fight with the gang and loses. After ravaging the woman, they drive on, and encounter the wife of veterinarian Corey Maddox (Alex Rocco), who they menace on their bikes until Cory arrives and pushes them around. Brahmin won't let him get away with this, and waits for Cory to leave his house for work the next day, then makes his move...
Written by director Russ Meyer and William E. Sprague, this was another of Meyer's highly idiosyncratic gentlemen's entertainments, packed with all the sex and violence he could get away with in 1965. Often seen as a companion piece to Faster, Pussycat! Kill! Kill!, instead of three aggressive young ladies as its main characters, it features this cut rate biker gang, and as such is the more conventional film. Presumably named Motor Psycho as a pun on "motorcycle", the actual bike riding sequences don't take up much of the film, and the villians ditch their transport (which resemble scooters) halfway through for a more ordinary truck. While Cory is out at a ranch tending to a horny client's horses - he is not tempted by her, being a one woman man - his wife is being viciously danced with by the gang who have broken into their house. Things turn nastier as the bikers rape her, and when Cory gets home he is shocked, furious and hellbent on revenge, knowing exactly who the culprits are. Cory is an interesting Meyer hero, a fine upstanding fellow who has high moral principles despite his resorting to violence for justice; compare him to the obnoxious police officer (played by Meyer, interestingly) at the scene who excuses the assault by saying, "Nothing happened to her that a woman ain't built for!", much to Cory's anger.

Meanwhile, an arguing, recently married couple are driving through the desert; he, Bonner (Coleman Francis of Beast of Yucca Flats fame), is an older man and she, Ruby (Haji), is a young Cajun woman. Both are dissatisfied with marriage, and when a flat tyre causes them to meet the biker gang, they come off the worst, with Brahmin shooting Bonner with his own rifle and firing at the escaping Ruby, who is knocked out by a bullet grazing her forehead. They steal the truck and Cory, in hot pursuit, discovers the bodies, his veterinary skills coming in handy to tend to the dazed Ruby. After that, the couple team up to track down the killers through the baking desert heat. Motor Psycho is notable for its war veteran baddie (as well as it's veterinary hero, I guess), being one of the first in a long line of exploitation movie psychotics, the crazed Vietnam soldier. It's not long before Brahmin is having flashbacks to the conflict, believing that the Commies are after him and he has to make a stand, even going as far as shooting a member of his own gang who attempts to leave. Being faithful, Cory never has anything going on with Ruby, and any sexual tension is channelled by a bizarre scene where Cory forces Ruby to suck the posion out of a rattlesnake bite. There's plenty of action, overripe dialogue and buxom women on offer here, but as Meyer films go it's not among his more memorable efforts, although the cast is pretty good. Music by Igo Kantor.
by Graeme Clark



MOTOR PSYCHO
RUSS MEYER (1965)
73 MIN
USA

How to Make a Monster (1958)

How to Make a Monster is a 1958 American horror film released by American International Pictures. The film is a follow up to both I Was a Teenage Werewolf and I Was a Teenage Frankenstein. Filmed in black &; white, with the last reel filmed in color.

Pete Dumond, Chief Make-up Artist for 25 years at American International Studios, is pink-slipped by the new management from the East, Jeffrey Clayton and John Nixon, who plan to make musicals and comedies instead of the horror pictures for which Pete has created his remarkable monster make-ups and made the studio famous. In retaliaton, Pete vows to use the very monsters these men have rejected to destroy them. By mixing a numbing ingredient into his foundation cream and persuading the young actors that their careers are through unless they place themselves in his power, he hypnotizes both Larry Drake and Tony Mantell, who are playing the characters Teenage Werewolf and Teenage Frankenstein in the picture "Werewolf Meets Frankenstein" currently shooting on the lot. Through hypnosis, Pete causes Larry in werewolf make-up to kill Nixon in the studio projection room, and later he wills the unknowing Tony to wait for Clayton in his garage at night and brutally choke him to death. Studio guard Monahan, a self-styled detective, stops in at the Make-up Room on his rounds one evening and shows Pete and Rivero—Pete's reluctant assistant and accomplice—his little black book in which he has jotted down many facts such as the late time Pete and Rivero checked out the night of the first murder. By this show of initiative he plans to get a promotion. Apprehensive, Pete, made up as a terrifying primitive monster, one of his own creations, kills Monahan in the studio commissary at a later point on his beat. Richards, the older guard sees and hears nothing until he uncovers Monahan's body. Police investigators uncover two clues: a maid, Millie describes the Monster Frankenstein (Tony, in make-up) who struck her down as he fled from Clayton's murder, and the Police Laboratory Technician discovers a peculiar ingredient in the make-up left on Clayton's fingers from his death struggle with Tony. The formula matches bits found in Pete's old Make-up Room, and the Police head for Pete's house—where Pete has taken Rivero, Tony and Larry for a grim farewell party to his home which is a museum of all the monsters that he has created in the 25 years in the studio. Pete has stabbed Rivero to death secretly in the kitchen and hidden his body. Finding Tony and Larry trying to escape the locked living room, he attacks them with a knife, but Larry knocks over a candelabra, setting the living room on fire and Pete is burned to death trying to save the lifelike heads of his monster "children" mounted on the wall. The Police break through the door before the flames reach the boys.

From Wikipedia,

HOW TO MAKE A MONSTER
HERBERT L. STROCK  (1958)
73 MIN
USA

Battle of the Worlds (1961)

Battle of the Worlds (Italian: Il Pianeta degli uomini spenti) is an Italian science-fiction film released in 1961. An English-dubbed version was released in the United States in 1963. The film was directed by Antonio Margheriti and starred Claude Raines, Bill Carter and Maya Brent. Dr. Fred Steele (Umberto Orsini) and Eve Barnett (Maya Brent) work together at an astronomical station on a bucolic island. Steele has just had his request for a transfer approved, and he and Eve look forward to leaving the island and getting married. However, their budding romance is quickly put on hold as the station's scientists learn they must deal with a rogue planet -- "The Outsider" -- that has entered the solar system, and which is on a collision course with Earth. The brilliant but cantankerous Professor Benson (Claude Rains), living in an adjacent greenhouse with his dog Gideon, predicts that the Outsider will not strike the Earth but will simply make a close pass -- a prediction that no other scientist will endorse. Meanwhile, a military base on Mars encounters the stray planet on its approach to Earth, and Commander Robert Cole and his wife Cathy quickly travel to the island outpost from Mars to help with the effort.

The base scientists are elated when the Outsider passes the earth at a distance of 95,000 miles, just as Benson predicted. But Benson himself is stunned when the Outsider takes up an orbit round Earth. He concludes that the Outsider must be controlled by an alien intelligence, and he calls upon the world's scientific governing council to destroy it without delay. Against Benson's wishes, an expedition is launched to make a close study of the new planet. As the exploratory spacecraft approach, a number of disc-shaped alien spaceships emerge from beneath the planet's surface, destroying the Earth vessels. The phantom planet begins spiraling inward toward the Earth, creating hurricanes and storms, and the beginning of the end appears to be near. Professor Benson discovers that the alien ships are computer-controlled, and he devises a way to seize control of them from the Outsider. Benson is given the opportunity to join an expedition to the Outsider, to learn something of its underground base. Meanwhile, a plan is hatched to launch an all-out attack against the planet, in the hope that a massive nuclear strike will break the planet apart. Benson's expedition discovers a race of humanoid creatures dead at the controls of their planet-spaceship, as the automated systems continue their work without purpose. But the expedition has overrun its allotted time, and the order is given to begin the attack. It is a race against time as the members of the expedition try to get back to the ship before the nuclear warheads strike. Cathy is mortally wounded in the attempt to flee the Outsider. Benson refuses to leave, insisting that life without scientific knowledge is not worth living. The warheads reach their target, and the Outsider is successfully destroyed. As the exploratory ship returns to Earth, Commander Cole speaks Benson's epitaph: "Poor Benson -- if they'd opened up his chest, they would only find a formula where his heart should have been".


BATTLE OF THE WORLDS
ANTONIO MARGENTI
83 MIN
ITALY

Suddenly (1954)

Suddenly (1954) is an American film noir directed by Lewis Allen with a screenplay written by Richard Sale. The drama features Frank Sinatra, Sterling Hayden, James Gleason and Nancy Gates, among others. The tranquility of a small town is jarred when the U.S. President is scheduled to pass through and a hired assassin takes over the Benson home as a perfect location to ambush the president.

In post-war America, the President of the United States is scheduled to journey through the small town of Suddenly, California. Claiming to be checking up on security prior to his arrival, a group of FBI agents arrive at the home of the Bensons, which neighbors the station where the Presidential train is due to stop. However, they soon turn out to be assassins led by the ruthless John Baron (Frank Sinatra), who take over the house and hold the family hostage. Sheriff Tod Shaw (Sterling Hayden) arrives with Dan Carney (Willis Bouchey), a Secret Service agent in charge of the President's security detail. When he does, Baron and his gangsters shoot Carney and a bullet fractures Shaw's arm. Baron sends one of his two henchmen to double-check on the President's schedule but he is killed in a shootout with the police. Jud (James O'Hara), a television repairman, shows up at the house and also becomes a hostage. Pidge (Kim Charney) goes to his grandfather's dresser to fetch some medication and notices a fully loaded revolver which he replaces with his toy cap gun. Baron is confronted by the sheriff on the risks and meaning of killing the President and Baron's remaining henchman begins showing some reluctance. For Baron, however, these are the very least of his concerns and it soon becomes clear that he is a psychopath whose pleasure comes from killing – who and why he kills being the least of his problems. A sniper's rifle has been mounted on a metal table by a window. Jud discreetly hooks the table up to the 5000 volt plate output of the family television. Pop Benson (James Gleason) then spills a cup of water on the floor beneath the table. Although the hope is that Baron will be shocked to death, his remaining henchman touches the table first and is electrocuted, firing the rifle repeatedly and attracting the attention of police at the train station as he struggles to free himself. Baron shoots Jud, disconnects the electrical hookup and aims the rifle as the president's train arrives at the station, but to his surprise, doesn't stop (having been alerted to the risk). Ellen Benson (Nancy Gates) shoots Baron in the chest and Shaw shoots him again. Baron's last words are, "Don't... please."

SUDDENLY
LEWIS ALLEN  (1954)
75 MIN
USA
DOWNLOAD / MPEG2 / 4.2 GB

Black Sabbath (1963)

The motion picture Black Sabbath, whose Italian title, I Tre volti della paura, translates as The Three Faces of Fear, is a 1963 Italian horror film directed by Mario Bava. Boris Karloff, in addition to appearing in the linking passages, has a role in "The Wurdalak" segment (based on a story by Aleksey Konstantinovich Tolstoy). The film comprises three horror stories, the others being "The Drop of Water" and "The Telephone." The Italian original is considerably different from the American version. Released by American International Pictures, it uses a different sequence of the episodes ("The Telephone," followed by "The Wurdalak," followed by "The Drop of Water"), features a different music score, and has different introductory scenes involving Karloff as the narrator, some of which are tongue-in-cheek. The stories themselves are somewhat different as well. The Italian version of "The Wurdalak" is slightly gorier than the US version, but the biggest difference is with "The Telephone." In its original Italian version, this segment contains a lesbian sub-plot that is eliminated in the English-language version by removing a couple scenes, changing the dialogue in those that are left, and reshooting a key insert shot involving a letter. As a result, the American version has been turned into a ghost story, whereas the Italian original is a non-supernatural, noirish exercise in vengeance and murder.



"The Telephone"

Rosy (Michele Mercier) is an attractive, high-priced Parisian call-girl who returns to her spacious basement apartment after an evening out when she immediately gets beset by a series of strange phone calls. The caller soon identifies himself as Frank, her ex-pimp who has recently escaped from prison. Rosy is terrified, for it was her testimony that landed the man in jail. Looking for solace, Rosy phones her lesbian lover, Mary (Lydia Alfonsi). The two women have been estranged for some time, but Rosy is certain that she is the only one who can help her. Mary agrees to come over that night. Seconds later, Frank calls again, promising that no matter who she calls for protection, he will have his revenge. Unknown to Rosy, Mary is the caller impersonating Frank. Mary arrives at Rosy's apartment soon after and does her best to calm Rosy's nerves. She gives the panic-struck woman a tranquilizer and puts her to bed. Later that night, as Rosy sleeps, Mary gets up out of bed and pens a note of confession; she was the one making the strange phone calls when she learned of Frank's escape from prison. Knowing that Rosy would call on her for help, she explains that she felt it was her way of coming back into her life after their breakup. While she is busy writing, she fails to notice an intruder in the apartment. This time it is the real Frank. He creeps up behind Mary and strangles her to death with one of Rosy's nylon stockings. The sound of the struggle awakens Rosy and she gasps in fright. The murderous pimp realizes that he just killed the wrong woman, and slowly makes his way to Rosy's bed. However, earlier that night, Rosy had placed a butcher knife under her pillow at Mary's suggestion. Rosy seizes the knife and stabs Frank with it as he's beginning to strangle her. Rosy drops the knife and breaks down in hysteria, surrounded by the two corpses of her former lovers.

"The Wurdalak"
In 19th Century Russia, Vladimir Durfe (Mark Damon) is a young nobleman on a long trip. During the course of his journey, he finds a beheaded corpse with a knife plunged into its heart. He withdraws the blade and takes it as a souvenir. Later that night, Vladimir stops at a small rural cottage to ask for shelter. He notices several daggers hanging up on one of the walls, and a vacant space that happens to fit the one he has discovered. Vladimir is surprised by the entrance of Giorgio (Glauco Onorato), who explains that the knife belongs to his father, who has not been seen for five days. Giorgio offers a room to the young count, and subsequently introduces him to the rest of the family: his wife (Rika Dialina), their young son Ivan, Giorgio's younger brother Pietro (Massimo Righi), and sister Sdenka (Susy Anderson). It subsequently transpires that they are eagerly anticipating the arrival of their father, Gorcha, as well as the reason for his absence: he went to do battle with the outlaw and dreaded wurdalak Ali Beg. Vladimir is confused by the term, and Sdenka explains that a wurdalak is a walking cadaver who feeds on the blood of the living, preferably close friends and family members. Giorgio and Pietro are certain that the corpse Vladimir had discovered is that of Ali Beg, but also realize that there is a strong possibility that their father has been infected by the blood curse too. They warn the count to leave, but he decides to stay and await the old man's return. At the stroke of midnight, Gorcha (Boris Karloff) returns to the cottage. His sour demeanor and unkempt appearance bode the worse, and the two brothers are torn; they realize that it is their duty to kill Gorcha before he feeds on the family, but their love for him makes it difficult to reach a decision. Later that night, both Ivan and Pietro are attacked by Gorcha who drains them of blood and flees the cottage. Giorgio stakes and beheads Pietro to prevent him from reviving as a wurdalak. But he is prevented from doing so to Ivan when his wife threatens to commit suicide. Reluntantly, he agrees to bury the child without taking the necessary precautions.

That same night, the child rises from his grave and begs to be invited into the cottage. The mother runs to her son's aid, stabbing Giorgio when he attempts to stop her, only to be greeted at the front door by Gorcha. The old man bites and infects his daughter-in-law, who then does the same for her husband. Vladimir and Sdenka flee from the cottage and go on the run and hide out in the ruins of an abandoned cathedral as dawn breaks. Vladimir is optimistic that a long and happy life lies with them. But Sdenka is reluctant to relinquish her family ties. She believes that she is meant to stay with the family. Sdenka's fears about her family are confirmed when that evening, Gorcha and her siblings show up at the abandoned abbey. As Vladimir sleeps, Sdenka is lured into their loving arms where they bite her to death. Awakened by her screams, Vladimir rushes to her aid, but the family has already taken her home, forcing the lover to follow suit. The young nobleman finds her lying motionless on her bed. Sdenka awakens, and a distinct change is visible on her face. No longer caring, Vladimir embraces her, and she bites and infects him as well.

"The Drop of Water"

In Victorian London, England, Nurse Helen Chester (Jacqueline Pierreux) is called to a large house to prepare the corpse of an elderly medium for her burial. As she dresses the body, she notices an elaborate sapphire ring on its finger. Tempted by greed, Nurse Chester steals it. As she does, a glass tips over, and drops of water begin to splash on the floor. She is also assailed by a fly, no doubt attracted by the odor of the body. Unsettled but pleased by her acquisition, she finishes the job and returns home to her small East End flat. After returning home, Nurse Chester is assailed by strange events. The buzzing fly returns and continues to pester her. Then the lights in her apartment go out, and the sound of the dripping water continues with maddening regularity. She sees the old woman's corpse lying on her bed and coming towards her. The terrified woman begs for forgiveness, but she ultimately strangles herself, imagining that the medium's hands are gripping her throat. The next morning, the concierge (Harriet White Medin) discovers Nurse Chester's body and calls the police. The investigator on the scene (Gustavo de Nardo) quickly concludes that it is a simple case and that Nurse Chester "died of fright." The pathologist arrives on the scene to examine the body before it is taken away and notes that the only sign of violence is a small bruise on her left finger, mostly likely caused when someone pried a ring from her finger. As the doctor makes this observation, the concierge appears distressed, for she has apparently taken the ring from the dead Nurse Chester, and is further distracted by the sound of a fly swooping about in the air....


This is the original Italian version with no English subtitles:



BLACK SABBATH
MARIO BAVA  (1962)
92 MIN
ITALY

Invaders from Mars (1953)

Invaders from Mars (1953) is a science fiction film, directed by William Cameron Menzies from a scenario by Richard Blake, based on a story treatment by John Tucker Battle, who was inspired by a dream recounted by his wife. It was produced independently by Edward L. Alperson Jr. and starred Jimmy Hunt, Helena Carter and Arthur Franz. After it was completed, it was distributed by Twentieth Century-Fox Film Corp. It is notable for being told from the point of view of an older child in an adult's world in crisis, vivid color cinematography (color by Color Corporation of America), subtly surreal set designs and unique use of outre sound effects, including a choral background consisting of an ethereal, rhythmically wavering syllable sung in unison. Although some sources state that the film was designed for the 3-D process (unlikely, since the project was in production before the breakthrough 3-D film, Bwana Devil, was released), it was neither filmed nor released in 3-D.

One night, a small boy, David MacLean (Jimmy Hunt), sees a flying saucer land near his home. His scientist father (Leif Erickson) goes to investigate. When he returns, there is an unusual mark on the back of his neck and he behaves in a different, cold and hostile manner. Gradually, David realizes that there is a conspiracy in which the people of the town are one by one becoming cold and inhuman. With the help of a local astronomer Dr. Stuart Kelston (Arthur Franz) and health-department physician Dr. Pat Blake (Helena Carter), he learns that the flying saucer, that has buried itself in a sandpit just behind his home, is the vanguard of an invasion from Mars. The Army is contacted and convinced to investigate, leading to a military penetration of the underground hideout established by the Martians. The troops enter the saucer. Inside they find a Martian, mostly a large head with strange tentacles, encased in a glassy sphere. The Martian mastermind is served by tall, green, silent humanoid "mutants", who use cerebral implants to control the townsfolk in order to sabotage nuclear rocket experiments at a facility just outside of town. In the film's climax, the Army, scientists, and David flee from the sandpit as explosives hidden aboard the flying saucer count down their last remaining seconds. An excessively long sequence montage's David running downhill, with flashbacks of the events of the film, supposedly running through David's mind. This includes some sequences played backwards, as well as scenes and events at which David was not present, of which he thus, could have had no knowledge. This is inter-cut with shots of the explosive timer counting down. Following the explosion, David is back in his bed, awakened by thunder, as he was at the beginning of the film. His parents reassure him by telling him the whole thing was just a nightmare, sending him back to bed. As thunder wakes him again, he witnesses the same UFO slowly land at the sandpit near his house. Is this another dream, or was the first a premonition of a now real event?

The film was shot from the point of view of a child. Camera angles are lower than usual. The set design of the police station consists of stark, elongated structures stretching high above the boy's head, much as it would appear to a child shorter than an adult. Although the action ends with the flying saucer being blown up as it attempts to flee back to Mars, the plot is left unresolved, and rather morally ambiguous. Dr. Kelston explains early on to David that due to its hot dry surface, the Martians live underground, or in spaceships hovering above the surface, having created mutants to labour for them as slaves. He notes that Earth has been under systematic observation by the Martians for 200 years and reasons that the top-secret military atomic rocket facility at which he (and David's father) work has brought about anxiety in the Martians, as humanity's (or more specifically the United States') recent developments in rocketry and atomic physics are now a threat to the Martians living in ships above their planet. Thus, the Martian 'invader' is simply trying to disable or destroy the rocket facility. This is confirmed by the facts that the 'invaders' are actually one Martian on a single ship instead of a fleet, and that the Humans over whom the Martian gains control act simply to eliminate only those scientists or the rocket facility where they work. There is no mass slaughter, terrorism or attack on the government itself or on major cities. Nevertheless, the forces of the US military is brought to bear (in a ridiculously rapid response using stock footage of a military train loading and carrying tanks and other military vehicles). Rather than negotiate with the Martian, the army kills him. Dr. Kelston does not question the motives of Human overreaction, but instead becomes a part of it. The moral ambiguity is raised further when the Martian-controlled sergeant tells the captured David and Dr. Blake that the Martian is a highly-evolved Human and, thus not an alien species. The reaction of the Terran Humans against the Martian-Human is thus the flight of primitives with a more civilised version of themselves, who are only trying to protect themselves from the primitives who threaten them with destruction. While the viewer is left believing the Earth-Humans victorious when the Martian ship is destroyed, the question of Human morality in reaction to the Martian's self-defensive pinpoint attack on Earth, and the potential for a much larger and deadlier response by the Martians, is left unresolved. Humanity may have won this battle but would likely lose the war against a more advanced Martian civilisation with spacefaring capabilities.

Special effects
The effect of the melting walls of the tunnels was created by filming a large tub of boiling oatmeal, colored with red food coloring and red lights, and shooting from above the tub. The bubble effect on the walls was originally created by using balloons pinned to the walls of the tunnels. However, on film it looked like balloons stuck to the wall. The effects team came up with the idea of using inflated condoms. They purchased 30,000 latex condoms, inflated them, tied them closed and pinned them to the walls. They looked much better on film than did the balloons. Scenes showing the holes in the sand closing up were created by running the collapse sequences in reverse (watch for rocks climbing back up out of the "holes" as they close).



INVADERS FROM MARS
WILLIAM CAMERON MENZIES (1953)
77 MIN
USA

As Boys Grow (1957)

As Boys Grow is a 1957 sex educational film produced by the Medical Arts Corp. The Track & Field coach decides it's time to explain to the team about the birds & the bees. Fortunately, he has a ready supply of charts of reproductive organs on hand. Boys get the 4-1-1 on masturbation, wet dreams, ejaculation and more! Safe to assume that because it was 1957 this  Coach was fired a few days later. This was the kind of film were they seperated the boys and the girls.





AS BOYS GROWS
MEDICAL ARTS PRODUCTIONS
16:17
USA
DOWNLOAD / MPEG2 / 432 MB

Molly Grows Up (1953)

Molly Grows Up is a 1953 sex education film produced by the medical arts production company. This film was about menstruation. Molly, a young girl anxiously awaits her first sign of menstruation, which means that she'll be able to date and go dancing. The school nurses explains exactly what menstruation is to her, by using diagrams and drawings.









MOLLY GROWS UP
MEDICAL ARTS PRODUCTIONS  ( 1953)
14:20
USA
DOWNLOAD / MPEG2/ 378MB

LSD - 25 (1967)

The dangers of LSD are driven home to teenagers in this classroom training film, which is "narrated" by an LSD tab. The "tab" tells kids that he is "a depth charge in the mind!" and various teenagers are shown babbling about their LSD experiences. "Experts" are presented who warn that LSD makes kids "paint themselves green" and has various other horrible side effects, the most serious of which is that it gives users a police record, and that there is "no known way of getting your fingerprints out of a police file once they're in there." Most of these films that were being made during the 1960's and 1970's were made with a very heavy hand and are laughable when seen today.



LSD 25
DAVID PARKER (1967)
26:21
USA

Jail Bait (1954)

Jail Bait is a 1954 American crime film directed by Ed Wood, with a screenplay by Wood and Alex Gordon. The film stars Timothy Farrell as a gangster who undergoes plastic surgery to elude the police. Famed bodybuilder Steve Reeves made his first screen appearance in the film.

Don Gregor, the son of a plastic surgeon, is jailed by the police for carrying an unlicensed handgun. Inspector Johns and Lt. Lawrence suspect he is an associate of gangster Vic Brady. Don’s sister Marilyn bails her brother out of jail, and the siblings agree to keep their father uninformed about Don’s indiscretions. Dr. Gregor is aware of his son’s secret life, but believes Don is a good person and that everything will “straighten itself out nicely.” Brady plans to rob a theater. Don is reluctant to become involved but is bullied into participating by Brady. During the robbery, Don kills a night watchman and Brady wounds the theater’s bookkeeper. The two crooks get away with the theater’s payroll. but Brady senses Don is having second thoughts about his involvement. Fearing Don will turn himself in to the police, Brady kills him and stuffs his body into a closet. In order to elude the police, Brady decides to undergo plastic surgery. He contacts Dr. Gregor, telling him he is holding his son hostage until plastic surgery is completed. Dr. Gregor begins the surgery in Brady‘s apartment, but discovers his son’s corpse in the closet. He controls himself, and completes the surgery. Two weeks later, Brady’s bandages are removed, and, to the everyone‘s horror and amazement, Brady’s facial features are exactly those of Don‘s. The police arrive with the theater bookkeeper who identifies “Don” as the man who killed the night watchman. Brady makes a break for it, but dies in a shoot-out with the police.

JAIL BAIT
ED WOOD JR. (1954)
72 MIN
USA
DOWNLOAD / MPEG4 / 510 MB

Mystery of Time (1957)

The Moody Institute of Science educational films series are a collection of exceptionally produced vintage science films. These films take a comprehensive and holistic look at several interesting phenomenons and creatures found in the natural world. Each topic is scientifically explained and synthesized with humans and mans creations (for example comparing a venues fly trap to a bear trap and comparing a flashlight to an electric eel). These films always keep on eye on the future while remembering the lessons of the past and seem well ahead of their time.


On the surface, this film may seem like an average science film about time and space, but like most of films from the Moody Institute of Science, there is an ulterior motive. The films host Irwin Moon had an interest in science as a child and later incorporated that interest into his life as a pastor. He would tour the country giving his Sermons of Science where the marvels of science provide the visible evidence of a Divine plan of creation. His work with GIs during World War II showed him the impact that training films had on the troops. Moon partnered with the Moody Bible Institute to form the Moody Institute of Science a company that made basic science films with a religious hook at the end. While revealing the complexity of nature, their films would end with Moon saying that this complexity was part of God's plan rather than evolution. Moody Institute of Science films were marketed to churches and also to public schools where today even the mention of the word God sparks a conflagration of protests and court cases.



MYSTERY OF TIME
MOODY INSTITUTE OF SCIENCE (1957)
27:02
USA
DOWNLOAD / MPEG2 / 964 MB

Living with the Atom (1957)

The Moody Institute of Science educational films series are a collection of exceptionally produced vintage science films. These films take a comprehensive and holistic look at several interesting phenomenons and creatures found in the natural world. Each topic is scientifically explained and synthesized with humans and mans creations (for example comparing a venues fly trap to a bear trap and comparing a flashlight to an electric eel). These films always keep on eye on the future while remembering the lessons of the past and seem well ahead of their time.


Living with the Atom is 1957 educational film that Explains the atom as the basic structure of matter. Depicts the birth of the atomic age from Alamogordo, Hiroshima and Nagasaki through the development of the thermonuclear H-bomb. Addresses the morality behind the awesome power of atomic energy.


LIVING WITH THE ATOM
THE MOODY INSTITUTE OF SCIENCE  (1957)
12:02
USA

The Wonder Of Our Body (1958)

The Moody Institute of Science educational films series are a collection of exceptionally produced vintage science films. These films take a comprehensive and holistic look at several interesting phenomenons and creatures found in the natural world. Each topic is scientifically explained and synthesized with humans and mans creations (for example comparing a venues fly trap to a bear trap and comparing a flashlight to an electric eel). These films always keep on eye on the future while remembering the lessons of the past and seem well ahead of their time.




The Wonder of Our Body:
Moody does it again, comparing the human body to an industrial plant. This also goes on to show how machines are inferior to humans.



THE WONDER OF OUR BODY
THE MOODY INSTITUTE OF SCIENCE (1958)
12:05
USA
DOWNLOAD / MPEG2/ 427 MB

Radar Men From the Moon - Chapter 1: Moon Rocket (1952)

Radar Men from the Moon (Republic Pictures, 1952) was the first Commando Cody serial, in 12 chapters, starring newcomer George Wallace (1917-2005) as Cody and Aline Towne as his sidekick Joan Gilbert, with serial veteran Roy Barcroft as the evil Retik, the Ruler of the Moon. The director was Fred C. Brannon, with a screenplay by Ronald Davidson and special effects by the Lydecker brothers. It was also released as a television film under the new title Retik the Moon Menace (1966). This famous serial recycles the rocket-powered flying suit from King of the Rocket Men (1949). The main character, Commando Cody, is a civilian researcher with a sizable staff of employees and a large laboratory building. (The building is actually the front office of Republic Pictures with a "Cody Laboratories" sign attached next to the door.) Commando Cody has available for his use the rocket-powered flying suit and a rocket ship capable of reaching the moon. When the U.S. finds itself under attack from a mysterious something that wipes out military bases and industrial complexes, Cody deduces that the Earth faces a menace from our own moon, and rockets there to discover and confront the moon's dictator Retik, who boldly announces plans to conquer our planet and move his subjects there. Cody spends most of the serial's running time on Earth battling an elusive lunar native called Krog and the gang of human crooks he has hired to steal and stockpile supplies for the invasion. Clayton Moore plays Krog's chief Earthling assistant. Radar Men from the Moon's first chapter spawned the somewhat famous expression "Atomic activity on the Moon. Atomic blast on the Earth" (uttered by Henderson when divulging to the scientists the government's research conclusions).


THIS IS CHAPTER 1 : MOON ROCKET:




RADAR MEN OF THE MOON - CHAPTER 1 : MOON ROCKET

FRED C. BRANNON (1952)
REPUBLIC PICTURES
13:24 MINUTES
USA
DOWNLOAD / MPEG2 / 780 MB

Radar Men From the Moon - Chapter 2: Molten Terror (1952)

Radar Men from the Moon (Republic Pictures, 1952) was the first Commando Cody serial, in 12 chapters, starring newcomer George Wallace (1917-2005) as Cody and Aline Towne as his sidekick Joan Gilbert, with serial veteran Roy Barcroft as the evil Retik, the Ruler of the Moon. The director was Fred C. Brannon, with a screenplay by Ronald Davidson and special effects by the Lydecker brothers. It was also released as a television film under the new title Retik the Moon Menace (1966). This famous serial recycles the rocket-powered flying suit from King of the Rocket Men (1949). The main character, Commando Cody, is a civilian researcher with a sizable staff of employees and a large laboratory building. (The building is actually the front office of Republic Pictures with a "Cody Laboratories" sign attached next to the door.) Commando Cody has available for his use the rocket-powered flying suit and a rocket ship capable of reaching the moon. When the U.S. finds itself under attack from a mysterious something that wipes out military bases and industrial complexes, Cody deduces that the Earth faces a menace from our own moon, and rockets there to discover and confront the moon's dictator Retik, who boldly announces plans to conquer our planet and move his subjects there. Cody spends most of the serial's running time on Earth battling an elusive lunar native called Krog and the gang of human crooks he has hired to steal and stockpile supplies for the invasion. Clayton Moore plays Krog's chief Earthling assistant. Radar Men from the Moon's first chapter spawned the somewhat famous expression "Atomic activity on the Moon. Atomic blast on the Earth" (uttered by Henderson when divulging to the scientists the government's research conclusions).

This chapter 2 : Molten Terror:





RADAR MEN OF THE MOON - CHAPTER 2 : MOLTEN TERROR

FRED C. BRANNON (1952)
REPUBLIC PICTURES
13:24 MINUTES
USA
DOWNLOAD / MPEG2 / 780 MB