Sandy Ferber

SANDY FERBER, on our staff since April 2014 (but hanging around here since November 2012), is a resident of Queens, New York and a product of that borough's finest institution of higher learning, Queens College. After a "misspent youth" of steady and incessant doses of Conan the Barbarian, Doc Savage and any and all forms of fantasy and sci-fi literature, Sandy has changed little in the four decades since. His favorite author these days is H. Rider Haggard, with whom he feels a strange kinship -- although Sandy is not English or a manored gentleman of the 19th century -- and his favorite reading matter consists of sci-fi, fantasy and horror... but of the period 1850-1960. Sandy is also a devoted buff of classic Hollywood and foreign films, and has reviewed extensively on the IMDb under the handle "ferbs54." Film Forum in Greenwich Village, indeed, is his second home, and Sandy at this time serves as the assistant vice president of the Louie Dumbrowski Fan Club....

The Human Chord: “What’s in a name?”

The Human Chord by Algernon Blackwood

In his masterful collection of 1912 entitled Pan’s Garden, British author Algernon Blackwood clearly displayed his belief in the sentience and awareness of such facets of Nature as trees, snow, gardens, the wind, subterranean fires, the seas and the deserts, and of their transformative powers for those with the ability to discern them. One facet of Nature not dealt with in Pan’s Garden, however, was sound itself, and now that I have finally experienced Blackwood’s novel of two years earlier, The Human Chord, I believe I know why. The subject of sound, you see, and of its ability to transfigure and create, lies at the very heart of this novel, and is dealt with in a... Read More

Pan’s Garden: A stunning collection from “The Ghost Man”

Pan’s Garden by Algernon Blackwood

By the time the renowned British writer Algernon Blackwood released his first collection of short stories, The Empty House, in 1906, he was already 37 years old and had led a life as full of adventure and incident as anyone you might possibly name. He had already worked as a dairy farmer and hotel operator in Canada, gone prospecting for gold in Alaska, been a bartender, and worked as a NYC reporter for The Evening Sun, among other things; occupations that would go to make good material for his 1923 autobiography Episodes Before Thirty. As the new century got under way, Blackwood, long interested in Buddhism, philosophy and the supernatural, joined several occult societies, including The Hermetic Order of the Golden Dawn. His love of nature compelled him... Read More

Black Magic: Sandy’s Favorite Read of 2021

Black Magic by Marjorie Bowen

The British publishing firm Sphere Books had a really wonderful thing going for itself back in the 1970s: a series of 45 books, both fiction and nonfiction, curated by the hugely popular English supernatural novelist Dennis Wheatley, and titled Dennis Wheatley’s Library of the Occult. This reader had already experienced seven of these novels in the natural order of things, in other editions – titles such as Mary Shelley’s Frankenstein (1818), Bram Stoker’s Dracula (1897), Read More

First He Died: No Excedrin needed

First He Died by Clifford D. Simak

As I think I may have mentioned elsewhere, stories about time travel can sometimes give me a headache right between the eyes. And really, who among us hasn’t, at one time or another, come close to getting a major-league migraine when trying to suss out the temporal conundrums inherent in many of these tales? Fortunately for me — and my head — the novel that I have just experienced is one that does indeed feature time travel in its story line, but that lays out its complexities in a manner that leaves the reader blissfully headache free. The book in question is Clifford D. Simak’s second novel, First He Died; an early and surprisingly superior outing from the beloved future Grand Master.

First He Died has a some... Read More

The Green Man Returns: Numar gets serious

The Green Man Returns by Harold M. Sherman

Near the conclusion of Harold M. Sherman’s 1946 novel The Green Man, the eponymous Numar, visitor to Earth from the far-distant planet Talamaya, makes some startling predictions in a speech to the world from Chicago’s Soldier Field. Among other things, the green-skinned space wanderer tells mankind that a Great Light that will one day arise in the East will usher in a new age of spiritual enlightenment and “a new harmony of being with all things.” He also tells the book’s scatterbrained leading lady, Betty Bracken, immediately before his departure, “Perhaps we shall all meet again, somewhere.” Well, although the passage of several decades would be required, Numar, as it turns out, is as good as his wor... Read More

The Green Man: Screwball sci-fi

The Green Man by Harold M. Sherman

A short while back, I had some words to say about Festus Pragnell’s 1935 novel The Green Man of Graypec, which had originally appeared in the pages of Wonder Stories magazine and had given us the tale of a green-furred caveman living in a subatomic world. Now I am here to report on another green man, but one of a wholly different nature; one who hails not from the infinitesimally small microverse, but rather from a planet over a trillion miles away. The book in question is fittingly called The Green Man, was released over a decade after Pragnell’s novel and is very much lighter in tone. Most importantly, though, the book has revealed itself to be a delight to... Read More

King of the Dinosaurs: I know, it’s only Rok ‘N’ Kola, but I like it

King of the Dinosaurs by Raymond A. Palmer

In two of my recent book reviews here, for David V. Reed’s Empire of Jegga (1943) and for Nelson S. Bond’s That Worlds May Live (also 1943), I mentioned that both novels, in their current Armchair Fiction incarnations, feature copious, vintage footnotes from Raymond A. Palmer, the editor of Amazing Stories, the pulp magazine in which those tales first appeared. But what had not been sufficiently borne in upon me at the time was the fact that Palmer, bes... Read More

That Worlds May Live: Let’s get Sirius

That Worlds May Live by Nelson S. Bond

In my recent review of David V. Reed’s Empire of Jegga, I mentioned that this was a Golden Age sci-fi novel in the space-opera mold that featured an excessively recomplicated plot and a wealth of colorful detail. Reed’s novel had come out in the November 1943 issue of Amazing Stories magazine, but the Golden Age being what it was, this was hardly the first such space-opera affair to be released in the magazine that year. Just seven months earlier, actually, another novel was published, complete in one issue, in that selfsame legendary pulp, and in a similar vein as Reed’s book, only minus the complexity of story line and the convincing detail. That novel was the one in question here, and entitled That Worlds Read More

Earth vs. the Spider: BIG trouble in River Falls

Earth vs. the Spider directed by Bert I. Gordon

As I believe I have mentioned elsewhere, there was more than one reason why Wisconsin-born producer/director/special FX wizard Bert Ira Gordon was popularly known as Mr. BIG. Of course, his acronym alone might have ensured him that title for life, but it was rather the series of remarkable cinematic entertainments that Gordon came out with starting in 1955, many of them dealing with oversized monstrosities, that resulted in this loving appellation. And what a string of films it was: King Dinosaur (’55), Beginning of the End (’57, and dealing with giant grasshoppers), The Cyclops (’57), The Amazing Colossal Man (’57), Attack of the Puppet People (’58, and going small for a change), War of the Colossal Beast (’58), Earth vs. the Spider (’58), Village of the Giants (’65), The Food of the Gods (’76) and Empire of the ... Read More

The Ship of Monsters: Asombroso!

The Ship of Monsters directed by Rogelio A. Gonzalez

There are certain films that are so outrageous, so bizarre, so very unique or dumbfounding, that the viewer cannot believe what he or she is looking at while watching them. Such motion pictures leave the viewer wondering things like: What were those filmmakers thinking? How can a movie like this possibly exist? Some of those films, such as The Great Gabbo (1929), The Shanghai Gesture (1941), Blood Freak (1972) and The Worm Eaters (1977), leave the viewer slack-jawed but with the desire never to see them again; they are unique but either tiresomely boring or unpleasantly repugnant. Others, such as Plan 9 From Outer Space (1959), Gonks Go Beat (1965) and Barbarella (1968), similarly leave the viewer stunned by their outre quality, but with the desire to watch the films again sometime; films that must be placed into that dubious category “s... Read More

Captive Wild Woman: Lions and tigers and Cheela … oh, my!

Captive Wild Woman directed by Edward Dmytryk

1942 had been a very good year for the Universal horror film, with the releases of The Ghost of Frankenstein, Invisible Agent, Night Monster and The Mummy’s Tomb, and as 1943 began, and America entered what was very possibly the bleakest year of the WW2 era, the studio continued to pump out scarifying entertainments for its audiences. In March of that year, Frankenstein Meets the Wolf Man was released; June saw the premiere of Captive Wild Woman, the first film in what would eventually be a trilogy; August saw the studio’s rendition of The Phantom of the Opera; October would witness the opening of Son of Dracula; and November would see the studio’s release of The Mad Ghoul. (December ’42, I might add, was also the month in which producer Val Lewton, at rival studio RKO, began to offer the public his own... Read More

The Screaming Skull: Portrait for Jenni

The Screaming Skull directed by Alex Nicol

It was at NYC’s revival theater extraordinaire Film Forum that I first got the chance to see the 1958 horror wonder known as The Screaming Skull. On that day, back in 1990 or so, the film was shown as part of a double feature, playing with another 1958 doozy, Earth vs. the Spider. And really, this was a most apropos pairing, as these two films, when first released in August ‘58, were indeed shown as a double feature. Somehow, though, the passing of three decades had sufficed to allow me to forget pretty much all the incidents in both films, and recent rewatches of the two have made me wonder how I could possibly have forgotten all the many fine qualities in them. (I really do need to start taking ginkgo biloba to improve my memory capacity!) But while Earth vs. the Spider continues to have many defenders today, despite its being a mere “B picture,” The Screaming Skull... Read More

The Giallo Films of Edwige Fenech

The Giallo Films of Edwige Fenech

Born on Christmas Eve 1948 in the town that is now known as Annaba, in coastal Algeria, the daughter of a Maltese father and a Sicilian mother, Edwige Fenech is today regarded as something of a cinematic legend in Europe, although she is still hardly a household word here in the United States. But thanks to the advent of the VHS and DVD revolutions, her popularity and fame have managed to spread even to these American shores. Today, Fenech wears no fewer than two impressive crowns, being known not only as The Queen of the Italian Sex Comedy, but also as The Queen of Giallo … that wonderfully distinctive Italian film genre featuring stylish and often grisly stories of murder, serial killings, and assorted violence and mayhem. But even those laurels hardly tell her whole story. During the 1980s, Edwige also became something of an Italian television personality, and later a film producer in her own right. And, of course, she must... Read More

The Vampire: A novel kind of bloodsucker

The Vampire directed by Paul Landres

Fairly recently, I had some words to say about the excellent Mexican horror film The Vampire (or, as it was known upon release, El Vampiro), which came out in 1957 and starred Spanish actor German Robles as the Count Lavud, a bloodsucker in the very traditional, uh, vein. This South-of-the-border neck nosher, thus, could turn into a bat, cast no reflection in a mirror, could hypnotize his victims from afar, suffered from crucifixaphobia, spent the day sleeping in a coffin, and could only be killed by a stake through the heart. But that same year, in the U.S., another film entitled The Vampire would be released, telling of a very UNtraditional blood feeder with not a single one of the above-mentioned attributes. It is a film that I had long wanted to see, and a recent viewing has served to demonstrate to me what a really fine pi... Read More

Gorgo: Mother and child reunion?

Gorgo directed by Eugene Lourie

Although the Russian-born French filmmaker Eugene Lourie has dozens and dozens of credits to his name as a production designer and art director, it is for the three “giant monster” films that he directed in the early ‘50s to early ‘60s that he is probably best remembered today. I have already written here about the first of that trio, The Beast From 20,000 Fathoms (1953), which, thanks largely to the incredible stop-motion special effects provided by Ray Harryhausen, remains to this day my favorite monster movie of all time, and one that I have watched on dozens of occasions. I have also written here of Lourie’s second dinosaur extravaganza, The Giant Behemoth (1959), which, even as a kid, I found to be second rate as compared to The Beast, featuri... Read More

Night Monster: The silence of the frogs

Night Monster directed by Ford Beebe

1941 had been a very good year for the Universal horror film, during which time the studio released Man Made Monster, Horror Island and The Black Cat in the spring, and the eternal glory that is The Wolf Man in early December. And as America geared up for war at the beginning of 1942, the studio continued to crank out impeccably crafted horror films to entertain the masses. March would see the release of the fourth film in its Frankenstein franchise, The Ghost of Frankenstein; July would feature the well-nigh-forgotten picture Invisible Agent (a very loose Invisible Man se... Read More

Blood of Dracula: “Her name was Nancy, her face was nothing fancy….”

Blood of Dracula directed by Herbert L. Strock

In the memorable cult horror film I Was a Teenage Werewolf, future Bonanza star Michael Landon plays the part of hotheaded adolescent Tony Rivers, who goes to Dr. Alfred Brandon (the ubiquitous Whit Bissell) for help with his temper problems and is turned by the doctor, via a mysterious serum, into the titular monstrosity. Released in July ’57 and written by its producer, Herman Cohen, along with Aben Kandel, the film was such a hit that it induced the team to come out with three more cinematic wonders in a similar vein; films in which a diabolical adult causes an innocent teen to become a homicidal and monstrous killer. In I Was a Teenage Frankenstein, released four months later, Bissell was at it again, building a monster using the young and muscular Gary Conway. In How to Make a Monster (7/58), Robert H. Harris plays a Hollywood makeup artist who turns two teenage bo... Read More

The Nesting: Gloria’s swan song

The Nesting directed by Armand Weston

It sits on the crest of a hill overlooking the Hudson River to the west, a mere 18 miles north of NYC … the truly bizarre-looking structure known as the Armour-Stiner Octagon House. Built from 1859 - 1860 in Irvington, NY by financier Paul J. Armour, and expanded from 1872 - ’76 by tea importer Joseph Stiner, the structure is one of the few remaining octagonally shaped Victorian residences in the world; is now the site of a museum that is open for touring by the general public; and has deservedly been designated a National Historic Landmark. It is a site that I have long wanted to visit. OK, that last bit is an exaggeration. Actually, it is a site that I have wanted to visit for the last five days … ever since I watched the truly superior horror outing The Nesting, which features the Octagon House prominently in its story. Released in May 1981, The Nesting is a film that I never got a chance to see du... Read More

Some Horror Films by Ted V. Mikels: A quintet of horrific trash

Some Horror Films by Ted V. Mikels directed or produced by Ted V. Mikels

It has long seemed to me that Poughkeepsie, NY-born director, producer, screenwriter and novelist Ed Wood has gotten a bum rap over the years. The one-of-a-kind filmmaker has, starting with his very first picture in the early ‘50s, garnered for himself a reputation of the very worst kind, even going so far as to be almost universally regarded as “The Worst Director of All Time.” And indeed, with such films as Glen or Glenda? (’53), Jail Bait (’54), Bride of the Monster (’55, and the very first horror film that I can recall seeing, when I was 5), Plan 9 From Outer Space (’57, and the undeserved winner of the “Worst Film of All Time” prize), Night of the Ghouls (‘59) and The Sinister Urge (’60) to his credit, it is difficult to refute the claim of his being a filmmaker of the very lamest kind. But was Ed Wood actually... Read More

Nightmare: A minor masterpiece from The House of Hammer

Nightmare directed by Freddie Francis

1964 was a very good year for Hammer Studios in the UK. On April 19th of that year, remarkably, the studio released two films, The Evil of Frankenstein (the third entry in an ongoing series) and the psychological horror thriller called Nightmare. The following month, the little-seen entry known as The Devil-Ship Pirates was released, and on October 18th, the cinema juggernaut would do it again, by releasing two films on the very same day: The Curse of the Mummy’s Tomb (the second Mummy movie in that series) and a picture that would go on to become a fan favorite, The Gorgon. But it is of Nightmare that I would like to speak here, a film that this viewer had never seen before until recently, but one that has just made a hugely favorable impression on me. Clocking in at 82 very efficient minutes and impressively shot in ubercreepy B&W, the film is su... Read More

The Snake Woman: Cold-blooded, but not chilling

The Snake Woman directed by Sidney J. Furie

In John Gilling’s 1966 film The Reptile, produced by Hammer Studios, the audience was presented with the spectacle of a young woman (the great Jacqueline Pearce) who, thanks to the ministrations of a Malaysian snake cult, could turn into a serpent at will. The film was set in the Cornwall area in the early 20th century and had been brought in at a budget of over 100,000 pounds … and with terrific and scarifying results. But, as it turns out, this was not the first time that the Brits had given us a story about a young woman who could turn herself into a snake, and who terrorized her vicinity in the early 1900s. Five years earlier, an infinitely smaller and lesser film, nearly forgotten today, had appeared, by name of The Snake Woman, and a recent watch has only served to impress upon this viewer what an inferior product it is, in comparison. Whereas The Reptile had featured sumptuous colo... Read More

Empire of Jegga: Lovely Vrita and Ho-Ghan’s heroes

Empire of Jegga by David V. Reed

I have a feeling that most people, when they begin a book in the genre of the Golden Age space opera, go in expecting a slam-bang action affair replete with starship battles, interplanetary conflict, weapons of superscience, hissable villains and cheerable heroes. Well, I am here now to tell you of a Golden Age space-opera novel in which all those aspects are indeed most certainly present, but in very much a secondary role. The book is one that you may very well be unfamiliar with, and for good reason, although its author’s name just might ring a bell among some of you.

The book in question is entitled Empire of Jegga, by the NYC-born writer David V. Reed, whose real name was David Levine. Reed’s first novel of four, Empire of Jegga initially appeared complete in the November 1943 issue of Amazing Stories (cover price... Read More

Man Made Monster: High-tension thrills

Man Made Monster directed by George Waggner

In the 1956 film Indestructible Man, the great Lon Chaney, Jr. portrayed a character named Butcher Benton, who is sent to the gas chamber after a botched robbery but is later brought back to life by a mad-scientist type who supercharges his body with 300,000 volts of juice. Benton is thus turned into the seemingly unkillable creation of the title, with skin impervious to bullets and even to a bazooka blast. But as many filmgoers have known for decades, this was not the first time that Chaney had played a character who was dosed with an abundance of electricity and turned into a kind of supercreation. Fifteen years earlier, we find Chaney, in his very first horror picture, playing a similar role, but with far more impressive and artistic results. The film, Man Made Monster (the lack of a hyphen is annoying), was initially released as part of a double feature in March ’41 along with another picture fr... Read More

The Return of Dracula: Welcome back, champ!

The Return of Dracula directed by Paul Landres

Contrary to popular belief, the great Hungarian actor Bela Lugosi only portrayed the world’s most famous vampire twice, both times for Universal Studios: first in the creaky yet eternal glory that is Dracula (1931) and next in what many of us consider to be the greatest horror/comedy of all time, Abbott and Costello Meet Frankenstein (1948). And then, for a solid decade, that infamous character, the dreaded Transylvanian bloodsucker, would disappear from the world’s screens (with the single exception being the little-seen, 1953 Turkish curio Dracula In Istanbul) until the spring of ’58, when two films would mark the character’s return in a very big way. In April ’58, United Artists in the U.S. released a picture with the very apropos title The Return of Dracula, while in the U.K., the following month, Hammer Studios would release its highly influential film ... Read More

Lady Frankenstein: Neri fiddles while the castle burns

Lady Frankenstein directed by Mel Welles

Of all the great quotes ever uttered by Hollywood royalty, one of my favorites has long been a line that was uttered by the great Virginia-born actor Joseph Cotten, who once said, “Orson Welles lists

Citizen Kane as his best film, Alfred Hitchcock opts for Shadow of a Doubt, and Sir Carol Reed chose The Third Man … and I’m in all of them!” And it’s so true … Cotten, at the height of his career, got to work with the cream of Hollywood, and appeared in some of the very finest pictures of the age. But as the actor got older, he found, as had so many before him, that the availability of choice roles was limited (you might recall that the great Basil Rathbone’s final film was, uh, 1967’s Hillbillys in a Haunted House!), and during his final decade, he perforce appeared in any number of questionable/outre projects. Case in point: the 1971 Italian film Read More

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