Review of Die Monster Die

Introduction

This spooky gothic horror offers up a curious mix of archetypal creepy old house clichés with some good old-fashioned sci-fi schlock. Not too surprising though when you look at the pedigree. Bankrolled (in part) by Samuel Z. Arkoff , and directed by Daniel Haller who was once Art Director for Roger Corman, this film oozes all the classic aesthetics of gothic horror. The sets are wonderful, the composition superb, the Colorscope cinematography breathtaking - in many ways a case study of the fine art of classic horror movie making.

Many Arkoff projects suffered from brutal under-funding (some would argue that therein lies their charm) though `Die Monster Die!` is not one of them. There`s plenty of production value here.

Apart from the lavish gothic sets, the movie boasts an impressive cast. Boris Karloff delivers all his lines with a melancholy madness and in that wonderful `Monster Mash` vocal style that was all his own making. He plays a wheelchair bound scientist who inherits a `dark secret` from his father. The wheelchair may have given his role here a curious twist, though was essential. Karloff, then 80 years of age, was suffering from severe arthritis and couldn`t have managed the role any other way.
Equally good is Nick Adams who plays suitor to Papa Witley`s (Karloff) daughter, Ms. Witley, played beautifully straight by Suzan Farmer.

The movie is based on horror writer H.P.Lovecraft`s short story, `The Colour Out of Space` and remains relatively faithful to Lovecraft`s uniquely imaginative vision.

`Steve` (Nick Adams) opens the film by arriving in a remote rural railway station and asking the Cab driver to take him to the `Witley Estate`. Needless to say the Taxi Driver refuses, and he tries elsewhere in the village, always with the same rebuff. By the time we see him arrive (by foot) at the fog-bound gothic mansion that sits at the heart of the estate, we know he`s in for something spooky. An animal trap is set at the gate to stop intruders and visitors, but even this does nothing to deter our hero.

Once inside the creepy mansion, Karloff greets him and suggests he leaves forthwith. But then the object of his affections (and those of many cinemagoers I`d guess) comes running down the spiral staircase. She and Steve are clearly in love. But during his first day at the mansion a series of increasingly spooky events unfold, including strange howling noises, an attack by a grimly deformed lady in a cloak, strange shadows at the window and a butler who says little but collapses a lot.

To say more would spoil your enjoyment, though there are several corpses, satanic icons in the dungeon-like cellar, melting faces, and plenty of howls, screeches and creaks.

Video

Presented in its original widescreen (2.35:1) format, this print is in better shape than I would have thought likely for an MGM release of a movie some 40 years old. As MGM continue to mine their back catalogue its clear that there is little or no budget available for radical clean-ups, so maybe this is one of the lucky ones because it looks in particularly fine shape, though that`s not to suggest that its entirely flaw free.

Audio

Offered up in Digital Mono, the soundtrack is a well-crafted mix of creepy orchestral atmospheres, howling winds, clicking clocks, distant howls, and plenty of screams. It`s hiss-free and crystal clear.

Features

Other than a variety of alternative European soundtracks and sub-titles, there`s nothing here. But then it`s MGM.

Conclusion

For a movie that tries to meld both classic gothic horror with 1950`s Drive-In style Sci-Fi schlock, this movie is remarkably effective. Karloff is predictably superb, and Director Haller`s masterful eye for detail and composition make this a film to be relished. The plot is a little plodding, though the chilling atmosphere throughout is more than enough to sustain edge of seat interest. Whilst clichés are rife, this is an extremely satisfying and entertaining movie that, if you`re a horror movie fan, you`ll want to watch again and again. Whilst this is almost certainly another chapter in MGM`s breathtaking rush to exploit its entire back catalogue on DVD, with little or no attention to restoration or extras, this is a particularly fine print and highly recommended.