Archive for the Hypnotic Horror Category


Posted in "So Bad They're Good" Movies, 1960s Horror, 2013, B-Movies, Bad Acting, Carnival Chills, Cult Movies, Drive-in Movies, Gypsy Curses, Hypnotic Horror, Jenny Orosel Columns, Just Plain Weird, Meals for Monsters, Ray Dennis Steckler, Zombies with tags , , , , , on February 6, 2013 by knifefighter

Review and Recipes by Jenny Orosel


It could be argued that the best part of THE INCREDIBLY STRANGE CREATURES WHO STOPPED LIVING AND BECAME MIXED-UP ZOMBIES (1964) is the title. It wouldn’t be hard to argue that, because it is a bad movie. Ninety five percent of this movie is plain awful. But that five percent that isn’t is such pure awesomeness that it makes up for the rest and does make it a fun flick for a movie night.

The title sums up only a portion of INCREDIBLY STRAGE CREATURES. The movie opens with a carnival fortune teller turning a drunk into one of those mixed-up zombies after he spurns her advances. Flash-forward to three not-so-young young people (can’t any low-budget directors find anyone under the age of thirty to play a teenager?) looking for kicks at the local carnival. Jerry and his friends go in for a psychic reading with Madame Estrella from the prologue. She is not appreciative of their silly manner, especially the obnoxious Jerry. So she enlists the help of her sister, a stripper, in bewitching the juvenile delinquent. Soon he abandons his buddy and his girlfriend and only wants to watch Carmelita take it off. She, Madame Estrella and her henchman Ortega turn Jerry into a hypnotized assassin. Can they be stopped before Jerry goes full-blown into mixed-up-zombiness?

I’ve seen some great movies made on a near nonexistent budget. This is not one of them. The acting is horrible (the director cast himself in the lead, presumably to save a few bucks). The story seemed like an afterthought and the pacing was lousy (after the prologue there was barely any reference to the mixed-up zombies until near the end). The tagline for INREDIBLY STRANGE CREATURES was “The First Monster Musical”. Reading that, I was expecting…well, a musical. Not so here. Instead, we had a movie with song and dance numbers by the strippers and showgirls thrown in whenever they couldn’t think of anything else to do with that time slot. And I use the term “dance” loosely; it was more like walking around in sync.

So why am I recommending INCREDIBLY STRANGE CREATURES?  Because it’s fun. It’s so far from being politically correct (Estrella and Ortega are a mishmash of the worst stereotypes for Hispanic, Gypsy and Jewish combined) that you feel almost naughty just for watching it. Plus, there are parts of the flick that just straight up look awesome. The dream sequences alone were stunning (it’s worth mentioning that, in the midst of this film involving mostly non-professionals, cameraman Vilmos Zsigmond went on to win a cinematography Oscar for CLOSE ENCOUNTERS OF THE THIRD KIND (1977)).

When coming up with cocktails for these movies, I try to avoid really bad puns. But I don’t always try very hard. Hence, I bring you the:


1 shot rum
1 shot peach schnapps
1 shot apple schnapps
8 ounces fruit punch

Directions: Take the four ingredients and, well, mix them up.

Seeing as most of the movie takes place at a carnival, it would be fitting to make carnival food. My personal favorite is the corn dog. However, if you don’t have a deep fryer big enough to make Paula Deen weep, it can get very messy very fast. And baked corn dogs resemble their carnival counterparts the way a pug resembles a guard dog. So instead I bring you the best of the corn dog flavors, but in a less messy vehicle:


1 package corn bread mix
½ cup milk
4 hot dogs, cubed
2 miniature pickles, cubed

Directions:Preheat oven to 425 degrees. Spray a 9 inch loaf pan with nonstick spray. In a bowl, mix the first three ingredients, then fold in the last two. Bake for 20-25 minutes, depending on how hot your oven runs (mine took 22 minutes). Invert onto a plate, slice and serve with mustard/ketchup sauce and a salad (so you can claim something resembling nutritious for dinner).

¼ cup mustard
3 tbsp. ketchup
3 tbsp. Worcestershire sauce

Directions: Combine in saucepan and heat on low until warmed and mixed well together. Serve over Corn Dog Cake

Candy apples come with similar problems to corn dogs. To get that good, hard, bright red cinnamon exterior you need to deal with melted sugar at insanely high and precise temperatures. Ten degrees too hot or too cold can completely ruin it. Then there’s the problem of spillage—on kitchen equipment, it’s a bitch to clean off and spilled on flesh is really not something you ever want to experience. So, again like dinner, dessert captures all the flavors of the candy apple, but in a much easier way:



1 pre-made refrigerated 2 part pie crust
5 Granny Smith apples, peeled, cored and sliced.
½ cup sugar
3 tbsps. cornstarch
1 2oz bottle Red Hot cake decorations (or equivalent bulk candy)
1/3 cup butter, cut in cubes

Directions: Preheat oven to 425. Place first crust layer inside a 9 inch pie plate. Mix the apples, sugar, cornstarch and candies in a bowl. Pour into the crust, and scatter the butter cubes around the filling. Top with second crust dough, seal the edges and do NOT forget to poke air holes in the top crust (yes, this was learned the hard way). Put the pie plate on a cookie sheet to catch any drips or overflow. Bake 50 minutes, or until crust is nicely browned. Serve with whipped cream, ice cream, or the souls of your enemies.

The director, Ray Dennis Steckler, is responsible for some of the greatest titles in drive-in history: RAT PFINK A BOO BOO (1966), THE MAD LOVE LIFE OF A HOT VAMPIRE (1971) and THE HOLLYWOOD STRANGLER MEETS THE SKID ROW SLASHER. Whether these movies live up to the promise of those titles has been debated by film fans worldwide. But after giving THE INCREDIBLY STRANGE CREATURES WHO STOPPED LIVING AND BECAME MIXED-UP ZOMBIES a try, I suggest exploring some of his other titles. I’m willing to bet you’ll have more fun than an evening of toenail clipping. And, if you need help enjoying them, go ahead and add an extra shot or two to your Mixed-Up Zombie.

© Copyright 2013 by Jenny Orosel


Bill’s Bizarre Bijou looks into THE HYPNOTIC EYE (1960)

Posted in "So Bad They're Good" Movies, 1960s Horror, 2012, Bill's Bizarre Bijou, Hypnotic Horror, Kinky Killers, Mutilation, Paranormal, Sexy Stars with tags , , , , on December 6, 2012 by knifefighter

Bill’s Bizarre Bijou

William D. Carl

This week’s feature presentation:



Welcome to Bill’s Bizarre Bijou, where you’ll discover the strangest films ever made.  If there are alien women with too much eye-shadow and miniskirts, if papier-mâché monsters are involved, if your local drive-in insisted this be the last show in their dusk till dawn extravaganza, or if it’s just plain unclassifiable – then I’ve seen it and probably loved it.   Now, I’m here to share these little gems with you, so you too can stare in disbelief at your television with your mouth dangling open.  Trust me, with these flicks, you won’t believe your eyes.

Oh, Allison Hayes, how I adore thee.  I sang your praises earlier this year in the gloriously campy voodoo-fest, THE DISEMBODIED (1957), and I am compelled to return to your side with 1960’s exploitation / trash classic THE HYPNOTIC EYE.  You are not the main attraction in this gruesome-for-its-time sickie, but your performance as Justine stands out among the others like a rose in a cesspool.

Actually, THE HYPNOTIC EYE is a fun little drive-in feature with a twisted plot that probably stunned audiences right out of their rumble seats.  Directed by television vet George Blair (who directed hundreds of episodes of such fare as THE GENE AUTRY SHOW, RACKET SQUAD, ADVENTURES OF SUPERMAN, CASEY JONES, and WANTED: DEAD OR ALIVE), the film zips along swiftly with bursts of yucky violence and real live hypnotism demonstrations.  In fact, many of the actresses who performed in the film were actually mesmerized by an off-stage hypnotist and told what to do by the director using trigger words.  Thus, a feeling of real trances and surrealism suffuses the film, although I’m not certain the poor actresses couldn’t have performed just as well using actual acting skillsThe movie was even advertised as being filmed in Hypnomagic, a gimmick to get more seats filled in theaters, in which you – the audience—would actually be hypnotized while watching THE HYPNOTIC EYE.  It didn’t work on me, but perhaps the population was more susceptible back then.

The film starts on a shockingly sick note, when a black lingerie-wearing woman drying her hair over an open burner on a stove shoves her head down until her hair catches fire.  Instead of putting it out, she stands in her kitchen, screaming, unable to move while the hair on her head burns like Nic Cage in GHOST RIDER(2007).  This whole scene is witnessed through the burner, the flames dancing around the edges of the screen, the camera lurking within the stove.  Her entire head is wrapped in bandages and detective Dave Kennedy (played by Joe Partridge of many of George Blair’s TV shows) walks in and asks the doc, “Another self-inflicted mutilation?”  Under questioning, the woman admits she put her hair in the flame on purpose and then promptly dies.  Det. Kennedy expositions that eleven women have mutilated themselves with straight razors they thought were lipsticks or by sticking their heads into fans they thought were vibrators (what?).  So far, it’s all been unexplained.

This lady's got a hot new hairdo in the opening scene of THE HYPNOTIC EYE!

This lady’s got a hot new hairdo in the opening scene of THE HYPNOTIC EYE!

But life isn’t all mutilation and death for Kennedy.  That evening, he takes his girlfriend Marcia (played by Marcia Henderson of RIOT IN JUVENILE PRISON, 1959 and THE WAYWARD GIRL, 1957) on a date to see a popular hypnotist, Desmond (played by Jacques Bergerac of GIGI, 1958 and LES GIRLS, 1957; he was also the fourth husband of Ginger Rogers).  He makes a subject hot, then cold, then turns him into a very bad, mean dog!  There’s nothing like humiliating volunteers in front of a wildly applauding audience.  For his final demonstration, he gets three lovely women volunteers…and there is his assistant, Justine, played by the wonderful Allison Hayes in a hot sequenced outfit!  She helps him pick out the three prettiest women in the audience.  Dodie, a girl who came with the detective and his girlfriend, is one of the volunteers.  Dodie is played by the lovely Merry Anders (TICKLE ME, 1965, THE TIME TRAVELERS, 1964), and she is hypnotized by Desmond, and she actually levitates on stage under his French-accented instructions.  “Ladies and gentlemen…gravity defied!”  Det. Kennedy insists it’s all a trick of misdirection, although his girlfriend Marcia is thrilled.

The hypnotic Jacques Bergerac as Desmond.

The hypnotic Jacques Bergerac as Desmond.

Dodie doesn’t remember anything that happened onstage, and she rushes off after the show to the back entrance.  In a hypnotic state, she stares at a poster of Desmond then goes home where she fills a sink with boiling water and sulfuric acid and washes her face in it, melting away her skin and becoming the twelfth victim.  She survives, but is hospitalized and must be covered in paraffin, since her skin is burned away.  Det. Kennedy and Marcia visit her, and she admits that she remembered going home and washing her face but nothing else.  She knows she did it to herself, but she didn’t feel any pain at the time.

Det. Kennedy goes to a call and drops Marcia off at the theater where Desmond is performing, since she wants to see the show again.  Under Justine’s subtle direction, Desmond chooses, of course, Marcia.  She is the new subject for the levitation trick!  After the show, she tells Kennedy that Desmond is no fake, but that she faked being hypnotized and Desmond whispered in her ear that she wouldn’t remember anything except that she was to go back to his dressing room at midnight.  So, accompanied by Kennedy and his friend, a psychiatrist, she goes back to Desmond’s lair and plays along.

Once in his dressing room, she really is put under his spell by a blinking electronic eye thingie.  He tells her to get up and go to dinner with him.  He asks her address, and she tells him, while Allison Hayes lurks behind the corners, obviously bitter about the situation.  Desmond escorts Marcia to a nice restaurant, and her bodyguards sit at another table in case Desmond tries anything.  Then, they go to a way-crazy-man beat club for coffee and jazz.  So far, it’s a pretty great date.  Then, an old man in a beret screams “I have just written a poem.  Confessions Of A Movie Addict Or The Holy Barbarian Blues.  I was a teenaged movie monster.  I cut my teeth on Clara Bow…”  He goes on to recite the entire damn poem to bongo accompaniment.  He should’ve just called the poem “We Need Padding.  So Here Is Filler.”  Groovy, man, groovy.  Desmond dances with Marcia amongst the beat cats and chicks, which gets Kennedy all hot and bothered.  While dancing, Desmond whispers in Marcia’s ear, then he escorts her home and the detective waits outside while old Desmond makes out with his girl.  After a few minutes, the door opens, and Justine steps into the room.  She tells Desmond, “There isn’t much time.”  Justine makes Marcia go further down under.  Desmond asks, “How many more?”  Justine replies, “As long as there are faces like this.”  She then instructs Marcia to get ready for bed and she turns on the shower for her, making the water scalding hot.  What kind of plumbing does she have that the water is boiling hot in the shower?  Marcia strips while Justine orders her into the “cool, cool shower”.  At that moment, Dave Kennedy knocks on her door, interrupting the mutilation.

Allison Hayes as the mysterious Justine.

Allison Hayes as the mysterious Justine.

At the door, Justine informs Dave she’s a friend from school, visiting Marcia, but Marcia went to public school, and that just throws a monkey wrench into Justine’s plans.  But Marcia remains in a hypnotic state that can be triggered at any time.  It does make her act like a sex kitten, however.  Of course, big dumb lunkhead Dave still doesn’t get the connection between Desmond and the mutilated girls and Justine.  With cops like him, it’s a wonder any case ever gets solved in the city.  Justine, certainly a suspicious character, disappears out the fire escape.  Whoops!  Lost another suspect.

The psychiatrist friend is found in the morning playing classical piano in a smoking jacket with a white dog lying atop the piano!  He tries to explain the whole thing to dim-bulb Dave, but Dave is still in the dark.  They go to visit the first victim, the woman who stuck her face into an electric fan.  She says she has never been hypnotized.  Other victims confirm they were never hypnotized or saw the stage show.  However, it is soon discovered they are all lying (under post-hypnotic suggestion).  They have all been to see the show.

What is the strange relationship between Desmond and Justine?  Why is Justine causing the hypnotized ladies to mutilate themselves?  The answer is right out of a twist ending in a Scooby Doo cartoon.  It’s both ridiculous and horrifying at the same time, and it provides the lovely Ms. Hayes to really strut her stuff and chew the scenery.

THE HYPNOTIC EYE barrels along at a clipped pace for a brief 79 minutes, giving the viewer no time to discredit its hole-filled plot.  It’s hard to dislike the movie; it really pulls out all the stops to entertain.  It even contains a whole scene where Desmond looks right into the camera and hypnotizes the viewer in the movie audience!  There are beautiful women who are turned into monsters in various terrible ways through very good make-up effects created by Emile LaVigne, who created make-up for such great films as WEST SIDE STORY (1961), SOME LIKE IT HOT (1959) and THE DISEMBODIED (1957).  I wonder if Allison Hayes had him as her favorite make-up artist?    There are the dumbest cops of all time and damsels in distress.  The acting is good enough for this sort of thing, but the crisp photography by Archie Dalzell, who photographed LITTLE SHOP OF HORRORS the same year, and also shot THE TRIP (1967), FIVE DESPERATE WOMEN (1971) and EBONY, IVORY, AND JADE (1979), makes it all pop.

Plus, where else will you hear the great line, “If you like my beautiful face so much, you can have it!”

I command you to see THE HYPNOTIC EYE!  I command you to get the restored copy from Warner Archive!  I command it!

I give THE HYPNOTIC EYE three burning heads out of four.

© Copyright 2012 by William D. Carl