Orgy of the Dead (1965)

ORGY OF THE DEAD (1965) ****
Officially, Stephen C. Apostolof (1928-2005) is the director of Orgy of the Dead, but it bears so many of the trademarks of its screenwriter, Edward D. Wood Jr., that it could play as the back end of a doubleheader with the immortal Plan 9 from Outer Space directed by Wood.

Loopy dialogue? Check. How about “Torture, torture! It pleasures me!” “A pussycat is born to be whipped.” “If I am not pleased with tonight’s entertainment, I shall banish their souls to everlasting damnation!” “Q: Is it some kind of college initiation? A: It’s an initiation alright, but not to any college as you or I know it!”

Criswell as narrator? Check. On top of being the narrator, Criswell stars as The Emperor, giving him more screen time than Plan 9 and he’s the source of most of the quotes in the above paragraph. Yeah, anyway, here’s the epic narration to open the film in true Wood (and Criswell) style, “I am Criswell. For years, I have told the almost unbelievable, related the unreal, and showed it to be more than a fact. Now I tell a tale of the threshold people, so astounding that some of you may faint. This is a story of those in the twilight time. Once human, now monsters, in a void between the living and the dead. Monsters to be pitied, monsters to be despised. A night with the ghouls, the ghouls reborn from the innermost depths of the world.”

Questionable acting? Check. Continuity errors galore? Check. Shoddy visual effects stemming from a micro budget? Check.

Unlike Plan 9 though, Orgy of the Dead features about one dozen bizarre topless dance sequences and that ultimately gives it the edge over Plan 9.

I love a film where the nominal protagonists have the only proper names. Of course, one of them answers to Bob and he’s a writer looking for inspiration. Boy, does he ever find it. Otherwise, in addition to The Emperor, we have The Black Ghoul and the bevy of dancers, Hawaiian Dance, Skeleton Dance, Indian Dance, Slave Dance, Street Walker Dance, Cat Dance, Fluff Dance, Mexican Dance, and Zombie Dance (great Cramps song). That’s all the plot synopsis necessary.

Orgy of the Dead, though, also leaves plenty enough room for poorly costumed Mummy and Wolfman as imperial henchmen. Pat Barrington essays a double role as Bob’s lady friend Shirley and the Gold Girl. The Gold Girl calls to mind Shirley Eaton’s infamous golden paint demise in the 1964 Bond film Goldfinger. At first, I thought they were saving the good girl’s nudity for last, like the bodaciously buxom good girl Debra Blee in the 1982 sex comedy The Beach Girls, but that’s not true in Orgy of the Dead since Barrington also played the Gold Girl.

Even the taglines for Orgy of the Dead (Titty Dance of the Dead describes the film more accurately) are incredible, especially “Are you heterosexual?” and “In Gorgeous ASTRAVISION and Shocking SEXICOLOR!” Shocking sexy color, indeed.

Blackenstein (1973)

BLACKENSTEIN (1973) No stars
Blackenstein just might possibly be the worst horror movie I have ever seen and off the top of my head, that means it competes alongside such turkey bombs as Jaws: The Revenge, Monster a Go-Go, and Robot Monster. Now, that would be one way to do a horror movie marathon.

Poor Eddie. Dude lost both arms and both legs in Vietnam and he’s bullied in a Veterans Hospital near the beginning of Blackenstein over ice cream. He does have the love of the lovely Dr. Winifred Walker, who hooks Eddie up with the brilliant surgeon and DNA researcher Dr. Stein. Dr. Stein can attach new limbs to Eddie and he’ll be walking just like you and I in no time says this preeminent doctor. Not so fast, my fiend, not with Dr. Stein’s dastardly assistant Malcomb around.

This super creep Malcomb falls instantly in love, well he calls it love anyway, with Dr. Winifred, and by the way, the actor who plays Malcomb (Roosevelt Jackson) gives one of the most subtle performances ever. He does not foreshadow any upcoming plot developments by staring a hole right through Dr. Winifred the first half-dozen scenes they share. That’s why I called him super creep just a couple moments ago, because he’s super creepy.

Malcomb declares his lust, er, love for Dr. Winifred, Dr. Winifred tells Malcomb no because she loves Eddie, Malcomb becomes all spurned and switches Eddie’s DNA with that of a caveman, and Eddie becomes, you guessed it, the title character. That’s when Blackenstein really takes a dive for the dumpster, as it departs from soap opera to horrible horror with soul music interludes that quite frankly belong in another movie.

Blackenstein first wanted to cash in on the coattails of the 1972 hit Blacula and I have read that American International, one of the best exploitation film outlets, chose Scream Blacula Scream over Blackenstein. Gene Siskel reviewed Blackenstein in 1975, when distributors tried passing it off as Black Frankenstein with their fervent Malcomb-like desire to siphon off the success of the Mel Brooks satire / affectionate tribute Young Frankenstein. Siskel managed to be extremely generous when he rated Blackenstein one-half star.

Blackenstein, in short, has got no soul and that’s why it failed then and fails now or any moment in time. Not only does it have no soul, which is certainly bad enough, it’s got no joy of filmmaking like Edward R. Wood’s Plan 9 from Outer Space and Ray Dennis Steckler’s The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies, both of which are somehow considered worse than Blackenstein. The director of Blackenstein should be glad we cannot remember his name without an Internet search party.

Samurai Cop (1991)

SAMURAI COP

SAMURAI COP (1991) ***

An outtake is defined as “a scene or sequence filmed or recorded for a movie or program but not included in the final version.”

Blown lines and stunts, we all know the routine by now.

Hal Needham and Jackie Chan may have made outtakes for the end credits a cinematic institution, but Iranian “jack of all trades and master of none” Amir Shervan (1929-2006) directed SAMURAI COP, a feature movie solely comprised of outtakes.

Shervan trumped such legendary figures as Dwain Esper, William “One Shot” Beaudine, Bert I. Gordon, Bill Rebane, Ray Dennis Steckler, and even Ed Wood in absolute sheer incompetence.

Like a select few bad movies, SAMURAI COP is so, so, so bad in so, so, so many marvelous ways that it passes all the way through bad into good. It belongs filed next to Efren C. Pinon’s THE KILLING OF SATAN and Claudio Fragasso’s TROLL 2.

— Mathew Karedas, a.k.a. Matt Hannon, stars as Joe Marshall. Most people, though, just call him “Samurai Cop.” Joe must be the least convincing samurai in all history, cinematic and otherwise. For one, Joe’s entire look screams more Fabio and Kato Kaelin than, let’s say, Toshiro Mifune and his most dangerous weapon brandished is that damn speedo he spends what feels like the entire second half of the movie in. Anyway, for somebody allegedly well-versed in the Japanese vernacular, he sure does struggle pronouncing the name “Fujiyama.” When asked by his partner Frank Washington (Mark Frazer) what “katana” means, Joe snaps back “It means Japanese sword.” You don’t say, you don’t say.

— Samurai Cop arguably spends more time being a ladies man than anything else. No, seriously, he beds three, er, two women and he even blatantly talks about the beauty of another woman in the presence of his lover. Smooth, real smooth. Late in the 96-minute spread, he tells his future conquest, “Let’s just say … I can read eyes.” I wish that you couldn’t read dialogue.

Here’s a dialogue exchange from the Planet-X:

 

Nurse: Do you like what you see?

Joe Marshall: I love what I see.

N: Would you like to touch what you see?

JM: Yes. Yes, I would.

N: Would you like to go out with me?

JM: Uh, yes I would.

N: Would you like to fuck me?

JM: Bingo.

N: Well, then let’s see what you’ve got …

[Nurse investigates Joe’s bulge]

N: Doesn’t interest me. Nothing there.

JM: Nothing there? Just exactly what would interest you, something the size of a jumbo jet?

N: Have you been circumcised?

JM: Yeah, I have, why?

N: Your doctor must have cut a large portion off.

JM: No, uh, he was a, he was a good doctor.

N: Good doctors make mistakes too, that’s why they have insurance.

JM: Hey … don’t worry. I got enough. It’s big.

N: I want bigger.

[Nurse walks away]

 

I doubt that any screen lothario has ever partaken in dialogue that bad and the sound that we just heard is Rudolph Valentino saying “Thank you” for having made only silent movies.

That dialogue plays like a combination of a porno movie and “Dick and Jane” (most of the rest of the movie belongs to knocking off LETHAL WEAPON) and it belongs alongside the SHARK ATTACK 3: MEGALODON interchange in the anals, er, annals of cinematic history:

 

Cataline Stone: I’m exhausted.

Ben Carpenter: Yeah, me too. But you know I’m really wired. What do you say … I take you home and eat your pussy.

 

Boy, that’s just about as great as the whole “Fini can water you” debacle from YES, GIORGIO.

— Lead actor Matt Hannon thought he was done with the picture and got himself a short haircut. Several months later, Shervan looked up Hannon and informed him they were going to reshoot scenes. Unfortunately, Hannon still had short hair. I say unfortunately because Hannon wears one of the least convincing wigs ever made during SAMURAI COP. It does not help that Hannon’s wig flies off during a late fight scene and the actor also displays his obvious displeasure having to wear his wig. Yeah, it’s that bad.

— The chase scenes alternate between moving incredibly slow (nothing like slow-moving cars …) and being artificially sped up (… except for cars that zip along unnaturally). Yes, there are times when the action in SAMURAI COP plays like a silent film projected at the wrong speed.

— Not sure that I want to spend that much more time and space on SAMURAI COP, because I don’t want to risk writing a dissertation. Yes, over 750 words feels like I have been writing on this movie for a long time. However, there’s so many more things wrong but right about SAMURAI COP that we could be here all day, ironic for a movie that lasts a meager 96 minutes. Just imagine SAMURAI COP at GONE WITH THE WIND length.

— In a review long ago, I wrote that the 1979 Chuck Norris action vehicle A FORCE OF ONE combines a standard issue cops and criminals plot acted out by a good cast with martial arts and a “very subtle” anti-drug message that plays like one of those infamous 1980s TV commercials, only featuring roundhouse kicks.

On that note, we can end this review with a public service announcement from SAMURAI COP: “Now I’m telling these son-of-a-bitches that we respect the Japanese of this country, who are honest businessmen. And yeah, this is the land of opportunity for legitimate business, not for death merchants who distribute drugs to our children through schools and on the streets. Now I’m telling these motherfuckers that if they continue killing our children to make their precious millions that they deposit in their secret Swiss bank accounts, counselor, before your lawsuit even gets off the court clerk’s desk, I’ll have their stinking bodies in garbage bags and ship them back to Japan for fertilizer.”

Beautiful, absolutely beautiful, and it makes me want to pop a top on an ice cold one and blast Alice Cooper’s “I Love America.”

Bela Lugosi Meets a Brooklyn Gorilla (1952)

LUGOSI GORILLA 1953 OWENSBORO

BELA LUGOSI MEETS A BROOKLYN GORILLA (1952) Three stars

They don’t make bad movies like BELA LUGOSI MEETS A BROOKLYN GORILLA any more and that should bring sadness to genuine bad movie connoisseurs everywhere.

It was filmed in six days with a mighty mighty production budget of $12,000. (I have read other reports that have the film down for nine days and $50,000.)

William “One Shot” Beaudine (1892-1970) directed BELA LUGOSI MEETS A BROOKLYN GORILLA and his credits between film and TV amounted to a staggering 372 with his final theatrical features JESSE JAMES MEETS FRANKENSTEIN’S DAUGHTER and BILLY THE KID VS. DRACULA both released in 1966. Beaudine’s directorial career began in 1915, the year of D.W. Griffith’s landmark feature THE BIRTH OF A NATION; in fact, Beaudine assisted Griffith on both THE BIRTH OF A NATION and INTOLERANCE (1916).

Beaudine is not the only legendary Hollywood figure associated with BELA LUGOSI MEETS A BROOKLYN GORILLA.

We have, of course, Mr. Lugosi, no stranger to bad movies, especially in the later stages of his career. He always played a good game, though, and never failed in elevating anything that he was in. One of the all-time greats, Lugosi (1882-1956) even gave great performances in death in both the Kinks’ “Celluloid Heroes” (“Avoid stepping on Bela Lugosi / ‘Cause he’s liable to turn and bite”) and especially Bauhaus’ “Bela Lugosi’s Dead.” MEETS A BROOKLYN GORILLA does not represent peak Lugosi, of course, and it’s not even as good Lugosi as Ed Wood’s GLEN OR GLENDA and BRIDE OF THE MONSTER, but any Lugosi is still good Lugosi.

Martin Landau, who earned an Academy Award for portraying Lugosi in ED WOOD, said that he prepared for his role by watching BELA LUGOSI MEETS A BROOKLYN GORILLA three times (hopefully not in a row). Landau said the film was so bad that it made Ed Wood’s films seem like GONE WITH THE WIND by comparison. Now, there’s a pull quote for the ads: “Makes Ed Wood’s films seem like GONE WITH THE WIND.”

Lugosi made THE GORILLA in 1939 with the Ritz Brothers and Lionel Atwill and THE APE MAN in 1943, a film directed by Beaudine. All three ape films are public domain.

No, please wait, we have not even got to the best part yet. There’s nightclub duo Sammy Petrillo and Duke Mitchell, who play themselves in BELA LUGOSI MEETS A BROOKLYN GORILLA. They are really playing Jerry Lewis and Dean Martin, though, and you might be forgiven for mistaking Petrillo for Lewis and Mitchell for Martin if you missed the opening credits.

I raised my grade by at least one star once I found out that Martin and Lewis considered suing Petrillo and Mitchell for appropriating (misappropriating) their act for BELA LUGOSI MEETS A BROOKLYN GORILLA.

From a 1952 story by the United Press’ Aline Mosby, “The latest ‘Martin and Lewis’ are Duke Mitchell and Sammy Petrillo. They look, talk, laugh, and sing like Dean and Jerry, and they’re in the movies now, too. … Mitchell and Petrillo have the same haircuts, expressions, gestures and even ancestries of Martin, who’s Italian, and Lewis, who is Jewish.”

Mitchell and Petrillo insisted they did not see any resemblance. (Despite the film poster, “They look like Martin & Lewis … You’ll not know the difference … but they are really SAMMY PETRILLO DUKE MITCHELL.”)

After stating that Charlie Chaplin was the only original comic and everybody in show business is a combination of everybody else anyway, Petrillo added, “If it wasn’t for Minosha Skulnic, Harry Ritz and Gene Bayless, Jerry Lewis wouldn’t have an act. And that trick he does with his upper lip he got from Huntz Hall.”

“I’m a combination of Billy Daniels, Billy Eckstine and Sarah Vaughn,” Mitchell said. “Sometimes I get up to sing and I feel like Vaughn Monroe. Nothing’s original in show business. Who do you think Martin is? Crosby. Mel Torme’s like Sinatra, and he did all right.”

Mitchell and Petrillo only made BELA LUGOSI MEETS A BROOKLYN GORILLA and Martin and Lewis split in 1956 after 17 films together beginning with MY FRIEND IRMA (1949).

Mitchell died in 1981, Martin 1995, Petrillo 2009, and Lewis 2017.

BELA LUGOSI MEETS A BROOKLYN GORILLA is one of those movies where you can remember Leonard Maltin’s entire review, let’s see here, “BOMB. One of the all-time greats. Mitchell and Petrillo (the very poor man’s Martin and Lewis) are stranded on a jungle island, where Lugosi is conducting strange experiments. Proceed at your own risk.”

After positive reviews for THE TERROR OF TINY TOWN, KING KUNG FU, THE KILLING OF SATAN, and TROLL 2, I see no problem writing one for BELA LUGOSI MEETS A BROOKLYN GORILLA, although I have mentioned that it’s a bad movie several times. C.M.A., that’s all, folks.

Kingpin (1996)

KINGPIN (1996) Four stars

Over a period of a couple years in the late 1990s, there were two great bowling comedies released: The Farrelly Brothers’ KINGPIN and the Coen Brothers’ THE BIG LEBOWSKI. Granted, there’s far more to both movies than bowling.

A few of my friends and I watched these movies time and time again. They both played a central role in nearly a decade of regular Friday or Saturday or Sunday night bowling adventures at the Holiday Lanes in Pittsburg, Kansas. Alcohol helped too, although when the bowling alley banned outside cups, college student attendance dramatically took a dip. Eventually, though, our group sucked it up and put the money down on the watered down bowling alley beer.

A couple times during my writing career, I have mentioned KINGPIN. I reviewed ZOMBIELAND for the college newspaper and reunited Woody Harrelson and Bill Murray gave me an opportunity to reference their dueling comb-overs in KINGPIN. I just laughed thinking about it. I named KINGPIN one of my 10 favorite sports movies for The Morning Sun.

Harrelson plays Roy Munson from Ocelot, Iowa, the 1979 Iowa state bowling champion who embarks on a professional bowling career early on during KINGPIN. He’s a promising young bowler, but, unfortunately, he runs afoul veteran bowler Ernie McCracken (Murray), who cons rather than mentors the younger bowler. McCracken hated the fact that Munson beat him in bowling and in a con gone tragically bad, a gang of amateur bowlers take it out on Munson after they find out both he and McCracken are pros. McCracken gets away, of course, and leaves Munson to reap the consequences. Munson loses his right hand in a scene that’s very, very, very rough for a PG-13 comedy. It plays like a scene from a Scorsese gangster pic.

Seventeen years later, Roy Munson’s a real born loser in Scranton, Pennsylvania. Man, talk about down on his luck. He’s got a prosthetic hand and a major drinking problem. He sales bowling supplies, rather unsuccessfully, since nobody wants novelty gags in the men’s room any more. Munson is perpetually behind on his rent and that means his creepy landlady harasses the former pro bowler. They work out a debt solution I do not recommend and work in a Mrs. Robinson parody for tremendous sport Lin Shaye.

Speaking of sports, KINGPIN parodies the genre. Munson takes on a managerial role for Amish bowler Ishmael (Randy Quaid) and they decide to work their way to Reno for a $1 million winner-takes-all tournament to save Ishmael’s farm. Along the way, they gain Claudia (Vanessa Angel) and Roy and Claudia assume the roles with Ishmael that Jack Nicholson and Otis Young did with Quaid in the 1973 film THE LAST DETAIL. Needless to say, Ishmael gets hurt on the eve of the tournament in Reno, Munson makes his bowling comeback, and Munson and McCracken eventually battle for $1 million and comb-over superiority.

I find myself laughing throughout most of KINGPIN. Like the comedies of the Z-A-Z boys and Mel Brooks, or for that matter the Marx Brothers and the Three Stooges, I laugh twice at some of these jokes, a second laugh at the fact that I laughed in the first place. For example, I am laughing right now just thinking about Roger Clemens’ cameo playing a redneck named “Skidmark” and I have already mentioned Harrelson’s and Murray’s comb-overs.

Harrelson, Quaid, and Murray all have no problem looking absolutely ridiculous on screen, something they demonstrate time and time again for nearly two hours in KINGPIN. The Farrelly Brothers and the actors will stoop just that low for a laugh.

Murray has made a parallel career for himself with supporting roles and cameos, ever since CADDYSHACK. He’s done it with TOOTSIE, ED WOOD, SPACE JAM, WILD THINGS, COFFEE AND CIGARETTES, and, of course, KINGPIN, where he appears near the beginning and near the end of the picture. He just about walks away with the movie. Ernie McCracken is a real piece of work, crass, vile, womanizing, on down the line, but he seems to be a beloved figure within the movie. Of course. We love Murray and McCracken, and it’s the way he reads lines like “It’s a small world when you’ve got unbelievable tits, Roy.”

Of course, McCracken’s talking about Claudia, played by the lovely Angel. She is the discovery in KINGPIN, because we have seen Harrelson, Quaid, and Murray be funny before in several movies. At the same time, Angel could be seen on TV during her run on “Weird Science,” playing the character first essayed by Kelly LeBrock. She plays some of the same notes in both roles, with her delightful English accent and her sarcastic wit. It’s a joy watching her sock it to Munson and McCracken. It remains a mystery why Angel has never become a bigger star.

I recently talked about enjoying few comedies as much as NATIONAL LAMPOON’S ANIMAL HOUSE. Well, I just spent over 800 words on one of those few.

 

Plan 9 from Outer Space (1959)

 

PLAN 9 FROM OUTER SPACE (1959) Four stars
Discourse around Ed Wood’s 1959 feature gives us two options: it’s either the worst movie ever made or it’s so bad that it’s actually good.

Having recently watched PLAN 9 twice, once near the 60th anniversary of the film’s initial release on July 22, I find that I disagree with both options, especially the first one.

It’s a great movie, because I traditionally equate personal enjoyment with greatness and I enjoy the living dead out of PLAN 9.

Wood’s films have been called “accidental avant-garde” or Wood didn’t know what he was doing and this sheer ineptitude created something arguably more bizarre. Wood’s films, like Ray Dennis Steckler’s THE INCREDIBLY STRANGE CREATURES WHO STOPPED LIVING AND BECAME MIXED-UP ZOMBIES and RAT PFINK A BOO BOO, exist in their own realm despite taking on many genres.

For example, in PLAN 9, we have horror, science fiction, action, adventure, and drama.

Sure, that seems like nothing special because a lot of movies yesterday and today and tomorrow mix and match genres, but just wait until you see PLAN 9.

What other movie would begin with a spiel from a psychic named “The Amazing Criswell” (1907-82) who became infamous for making “wildly inaccurate predictions.” (Aside from another Ed Wood film, of course.)

Criswell sets the tone for the rest of the movie right from the very start, “Greetings, my friend. We are all interested in the future, for that is where you and I are going to spend the rest of our lives. And remember my friend, future events such as these will affect you in the future. … My friend, can your heart stand the shocking facts about grave robbers from outer space?”

Wood had originally planned for GRAVE ROBBERS FROM OUTER SPACE to be his title, but financier J. Edward Reynolds, a devout Southern Baptist, found GRAVE ROBBERS offensive and Wood changed it to the title we all know and love. Wood and several cast members were even baptized at Reynolds’ church.

Taking into consideration the fascinating nature of the cast and Wood himself, you understand why Tim Burton’s fantastic ED WOOD focused so much time on PLAN 9.

— Criswell, given name Jeron Criswell King, became a fringe celebrity in Hollywood and he cut an entertaining figure at parties with his predictions. Criswell appeared on late night TV (he predicted 1966 on Johnny Carson), published his predictions in both magazines and newspapers, and wrote three books — “From Now to the Year 2000,” “Your Next Ten Years,” and “Forbidden Predictions” — and made a record titled “The Legendary Criswell Predicts Your Incredible Future” (which can be found online). Criswell’s friend and fellow PLAN 9 cast member Paul Marco released Criswell’s song “Someone Walked Over My Grave” after Criswell’s 1982 death, apparently because Criswell wanted it released that way.

— Finnish-American actress Maila Nurmi (1922-2008) became better known as “Vampira,” who hosted horror movies on her own series, “The Vampira Show,” from 1954-55 on KABC-TV in Los Angeles. Vampira is a combination of Morticia Addams, the Dragon Lady from “Terry and the Pirates,” and the evil queen from “Snow White.” Vampira sued horror movie host Elvira for $10 million for “infringing upon her trademark, public reputation and ability to market her lucrative character.” “The character was ripped off,” Vampira’s attorney Jan Goodman said. “Hopefully, my client will be fairly compensated and Cassandra Peterson will continue with her character and share the proceeds with my client.” The court ruled in favor of Elvira, “‘Likeness’ means actual representation of another person’s appearance, and not simply close resemblance.” Vampira played a silent role in PLAN 9 reportedly because she wanted absolutely nothing to do with the dialogue written by Wood.

— Hollywood legend Bela Lugosi (1882-1956) found his roles diminished greatly because his dependence on morphine and methadone for his sciatic neuritis became known by Hollywood producers. Lugosi and Wood struck up a friendship, and Wood cast Lugosi in GLEN OR GLENDA? and BRIDE OF THE MONSTER. Wood filmed Lugosi picking a flower in front of Tor Johnson’s home, which became Lugosi’s final work on film because the great actor died five months before production on PLAN 9 began. Lugosi’s absence obviously left a major hole in PLAN 9 and chiropractor Tom Mason stepped in for Lugosi in a way that predates the Bruce Lee subterfuge in GAME OF DEATH. It’s just as effective as GAME OF DEATH, as well, to get that out of the way. Mason stalks through his every scene in PLAN 9 with a cape over his face, a classic Lugosi gesture borrowed from his final performance as Dracula in ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948). Legend has it that Lugosi was even buried in his cape.

— Swedish professional wrestler Tor Johnson (1902-71) appeared in 31 movie roles over nearly 30 years, mostly as a weightlifter or a strongman. Wood let the hulking Johnson speak in PLAN 9 and you will quickly realize why Johnson’s other roles were non-speaking. In fact, you might wish that he was mute like both Lugosi and Vampira in PLAN 9, but I find his dialogue as Inspector Daniel Clay strangely endearing, just like the movie itself, especially his line “I’m a big boy now, Johnny.” Johnson scared Groucho Marx on “You Bet Your Life” in 1954, where he weighed 387 pounds “soaking wet.” Groucho said, “With those measurements, you oughta be twice as attractive as Jayne Mansfield.” Johnson — played by fellow former professional wrestler George “The Animal” Steele in ED WOOD — also became a Halloween mask.

— Character actor Duke Moore (1913-76) had the distinction of his entire character actor career being spent in Ed Wood productions: CROSSROADS OF LAREDO, FINAL CURTAIN, NIGHT OF THE GHOULS, PLAN 9, THE SINISTER URGE, and TAKE IT OUT IN TRADE. In PLAN 9, he plays Lt. Harper, who’s not a very responsible gun owner. Lt. Harper touches his gun underneath his hat, holds it on top of his trench coat, and even points it at himself several times. According to Internet Movie Database trivia, Moore pointed the gun at himself deliberately to see if Wood would notice. Of course, Wood did not.

— Speaking of character actors, Lyle Talbot (1902-96) appeared in more than 150 films over a 56-year career. Talbot’s daughter Margaret wrote a book on her father called “The Entertainer: Movies, Magic and My Father’s 20th Century,” as Lyle worked in a carnival, as a hypnotist’s assistant, in theater, in the movies, and on TV. Lyle played Joe Randolph in 71 episodes of “The Adventures of Ozzie and Harriet” from 1956 to 1966. Lyle’s son, Stephen, played Gilbert on “Leave It to Beaver” (1957-63) and later became a journalist and documentarian. You will notice Lyle Talbot real quick in PLAN 9 because of the level of his performance.

— Dudley Manlove (1914-96, not Manlike, please, Auto Correct) has a voice that will make you think he’d be great in radio. Sure enough, looking up Manlove today, I discover that he worked on radio stations in Oakland and San Francisco. Manlove plays Commander Eros in PLAN 9.

— Independently wealthy, openly gay, and sex change seeking theatrical actor John “Bunny” Breckinridge (1903-96) made his only film appearance as “The Ruler” in PLAN 9.

Breckinridge’s obituary, “John ‘Bunny’ Breckinridge, an eccentric and troubled San Francisco millionaire who entertained grandly, served time in jail for vagrancy and was sued by his mother for lack of support, died Tuesday, November 5th, 1996 of heart failure in a Monterey nursing home. …

“Mr. Breckinridge, the great grandson of U.S. Vice President John Breckinridge and of Wells Fargo Bank founder Lloyd Tevis, was born in Paris. He spent time at Eton College and Oxford University in England and at the Atascadero State Hospital for the criminally insane.

“He was known for his flamboyant lifestyle, outrageous comments and penchant for perfume and costume jewelry. He performed in Shakespearean plays in England before coming to San Francisco in the late 1920s.

“He married the daughter of a French countess in 1927. The couple was divorced in 1929.

“‘I was a little bit wild when I was young, darling, but I lived my life grandly,’ he said.”

Bill Murray played Breckinridge in ED WOOD, so they’ve both got that going for them.

— Fumbling, bumbling, stumbling cop Kelton, played by Paul Marco (1927-2006), appeared in three Ed Wood productions and they form the “Kelton Trilogy” — BRIDE OF THE MONSTER, PLAN 9 FROM OUTER SPACE, and NIGHT OF THE GHOULS. Marco introduced Breckinridge to Wood, as the circle of friends around Wood expanded into his movies.

— Gregory Walcott (1928-2015) long regretted that he ever had anything to do with PLAN 9 FROM OUTER SPACE. From a 2000 Los Angeles Times article, “Drawbacks like this [Lugosi being dead] didn’t faze Ed Wood. He used a home movie of Lugosi and an impersonator. He used non-union crews and borrowed equipment. Walcott agreed as a favor, not even telling his agent, but regretted it instantly and for years thereafter. Virtually every reference guide labels PLAN 9 FROM OUTER SPACE the worst movie ever made.”

By the time (2000) that his old hometown of Wilson, North Carolina held a two-day Gregory Walcott Film Festival, Walcott (given name Bernard Mattox) had made peace with both Wood and PLAN 9.

“I didn’t want to be remembered for that,” Walcott said in the Times. “But it’s better to be remembered for something than for nothing, don’t you think?

“So I guess I owe Ed Wood an apology after all these years. Thanks, Ed.”

— Conrad Brooks (1931-2017), along with Walcott and Marco, appeared in Tim Burton’s ED WOOD and then, in his 80s, appeared in the 2015 PLAN 9 FROM OUTER SPACE remake directed by John Johnson and featuring such notables as Brian Krause, Camille Keaton, Mr. Lobo, and James “Angry Video Game Nerd” Rolfe.

Brooks, who played Patrolman Jamie in PLAN 9, was the last of the surviving Ed Wood actors.

— Wood (1924-78) unfortunately did not live to see the cult following that built up around PLAN 9 since 1980 when authors Harry and Michael Medved named it the “worst film ever made” in their book “The Golden Turkey Awards.” That pronouncement got the ball rolling.

Tim Burton’s rather feel good film only reinvigorated interest in both Wood and his filmography. ED WOOD treats PLAN 9 like a sacred text and jumps off the life story and filmography at that point. Wood’s later career included erotica, pornography, and even sexual education movies; Wood also wrote many pulp crime, horror, and sex novels.

ED WOOD (which undoubtedly cost more than all of the real Ed Wood’s films combined) also skips Wood’s alcoholism, but, hey, at least it does not skimp on his love of angora. (It’s also the most affectionate tribute from one director to another that I have ever seen, the film’s biggest strength.)

There’s even a Church of Ed Wood and if you go to www.edwood.org, you will have to click OK to “www.edwood.org says To answer your first question — yes, we’re serious!

“Woodism is a pop-culture-based religion created in 1996 by Reverend Steve Galindo. We follow the late cult director Edward D. Wood Jr., and we look to him as a savior. We at The Church of Ed Wood use Ed and his films to inject spirituality into those who get little fulfillment from more mainstream religions like Christianity. By looking at his films and his life, we learn to lead happy, positive lives. We strive for acceptance of others and of the self.”

I first encountered BRIDE OF THE MONSTER and PLAN 9 FROM OUTER SPACE around 12 years ago when Rob Zombie hosted “TCM Underground” on Turner Classic Movies, a show that I definitely miss since not having cable TV after the 2012 Election. I taped both movies, as well as Zombie’s bookend intros and outros for both, and that’s how I watched PLAN 9 twice recently.

I don’t write over 2,000 words on just any movie, so that only shows how much I love PLAN 9 FROM OUTER SPACE.

I love all the errors (boom mics visible, night-and-day day-and-night shifts during scenes), the cheesy special effects (love them flying saucers), the incongruous stock footage, the cast of goofball characters, the loopy dialogue, and, of course, Criswell’s narration.

BRIDE OF THE MONSTER (1955) Three stars; ED WOOD (1994) Four stars; PLAN 9 FROM OUTER SPACE (1959) Four stars