Directed by Arthur Hilton
Written by Roy Hamilton, Al Zimbalist, and Jack Rabin
Starring Sonny Tufts, Victor Jory, Marie Windsor, William Phipps, Douglas Fowley, Carol Brewster, Susan Morrow, and Suzanne Alexander
American society had changed during WWII. A shortage of men had brought women into the manufacturing workplace to help with the war effort, and with over 400,000 US casualties a lot of men weren’t coming back to reclaim those jobs. The men who prided themselves for saving the world felt threatened by the new independence of women, and their fear expressed itself in the repressive attitudes expressed as norms in television and films of the time. It can be difficult to recognize this in some of the more popular media, which comes off as merely dated. For your entry-point into seeing the reactionary misogyny of the time you need a clumsy and blatant display of it such as presented in the film Cat-Women of the Moon. As plot details are important to making this point, spoilers for a terrible 63-year old movie abound.
Directed by Gianfranco Giagni
Written by Riccardo Aragno, Tonino Cervi, Cesare Frugoni, and Gianfranco Manfredi
Starring Roland Wybenga, Paolo Rinaldi, Margareta von Krauss, and Claudia Muzi
There are certain things I just know I have to watch. Giant spider movies, naturally. Italian horror is another favorite. I can’t say no to noir, especially the sort where investigation leads to doom. Anything with Ray Milland in it. So when I learned that The Spider Labyrinth was an Italian horror-noir about a spider cult, I nearly fainted with joy. Good thing Milland wasn’t in it!
Directed by Lance Hendrickson, Troy McCall, Mike P. Nelson, Steven Rhoden, and Ben Trandem
Written by Lance Hendrickson, Mike P. Nelson, Steven Rhoden, Pa Chia Thao, and Ben Trandem
Starring Simon Wallace, Amy Cocchiarella, Tony D. Czech, Lance Hendrickson, Troy McCall, and Mike P. Nelson
This is playing with the difficulty set on Hard. Four experienced and talented directors teamed up to make Four Rooms with a shared character and setting, and it did so well that it’s never spoken of. Five directors — including Orson Welles — and a legion of largely uncredited writers worked on the endearing fiasco that was the 1967 anthology film version of Casino Royale. What I’m saying is that five directors working on seven stories with the same characters and setting is ambitious, particularly when the “it’s yet another dream” premise removes any and all emotional investment in Charles’ adventures.So I give the many directors and writers of Summer School credit for reaching too high, while acknowledging that the result of their collective effort is not very good. On average each story only had 12 minutes to work with, so the majority of the scenarios are fairly trite without much room to stand out in any way. There are still some fun moments; the segment “Vampires” features an entertainingly improbable staking, and “Slasher” sees Charles finally snap and go on a stabbing spree. Largely though, it’s a collection of genre beats without any context or weight.
Perhaps the worst section is the one that the greatest chance to break free of the limiting nature of the setup. “Hill Billy”, written and directed by Mike P. Nelson, puts a backwoods redneck family living directly outside the school. It’s the most overtly dreamlike setting detail in the film, and it gets us out of the building, so it’s a promising start. Sadly, all we get is recycled homosexual hick panic with a predator played by an actor too scared to actually touch Charles. It’s… not good, and the double-fake end of the segment does nothing to clear the air.So why am I even reviewing Summer School then? Because, dear readers, the second interior story contains that most rare and horrible of arachnids: spider men! The segment “Monsters” is co-written by Steve Rhoden and Ben Trandem (who had a writing and/or directing hand in all but two of the stories) and directed by Rhoden. It’s my favorite part for two reasons. First, of course, is that it features arachnothropes. That’s a word I just made up, because a cursory search turned up nothing else that fit. There’s zoanthropy, but even if you ignore the fact that it’s intended meaning is for people who only think they’re animals, it’s still usually restricted to mammals. Not a lot of people think they’re creepy crawlies, apparently.
The other reason I like “Monsters” is that it chose to avoid cliché. Sure, there’s nothing too unusual about infectious monsters, cocooned victims, or going down in a swarm, but instead of trotting out werewolves or making giant spider puppets someone thought “You know what? Spider masks would look sweet with gorilla suits”. I love that kind of thinking! The overall effect was rather silly, but I have to say that the masks look good. They’re only seen in quick shots or at a distance, so they come off well even with their immobility. Plus, how many times have arachnothropes appeared on film? Without poring over my notes on spider movies I can only come up with three: Horrors of Spider Island, Curse of the Black Widow, and the execrable Lost in Space. I’d also accept Mesa of Lost Women, although none of the humans looked spidery, and the spider just got big. I’m not prepared to discuss Mari-Cookie and the Killer Tarantula. It’s still too soon. Okay, and there are a few adaptations of Monkey that have spider women… My point is that it’s fun to see such an underexposed monster type in a movie that’s otherwise merely a tour of familiar scares. I mean, they even hauled out Nazis, for crying out loud.Overall, Summer School does little more than prove the technical competency of the filmmakers. That’s not a knock. While I was generally unengaged with the movie, I couldn’t fault the production values. The camera work, lighting, most of the sound, and even the effects are well above average for such a low-budget project. This kind of showpiece can be a nice entry on a CV, and indeed many of the film’s workers have since worked on technical and makeup capacities on TV, including some directing. Not bad.
Unless they’re still dreaming!
This review is part of the Adult Onset Lycanthropy roundtable; we’re taking a look at films were people become inhuman. The links below are for reviews from other participants. Give ’em the ol’ clicky, would’ja?
Checkpoint Telstar observes The Bat People
Cinemasochist Apocalypse honorably faces Kibakichi
Micro-Brewed Reviews bogarts Curse of the Black Widow (but I’m totally not jealous or nothing)
Las Películas de Terror scans The Beast Within
Psychoplasmics rounds up An American Werewolf in London
The Terrible Claw Reviews slithers up to Sssssss
The Tomb of Anubis tracks down Romasanta