"A REALLY INTELLIGENT INTERVIEWER." -- Lance Henriksen
"QUITE SIMPLY, THE BEST HORROR-THEMED BLOG ON THE NET." -- Joe Maddrey, Nightmares in Red White & Blue

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**Check out my other blogs, Standard of the Day, Proof of a Benevolent God and Lots of Pulp!**


Sunday, June 5, 2011

Three Decades of David: How the Dr. Pepper Pitchman Became a Horror Icon

If at least part of your childhood was spent in the 1970s, as mine was, then you probably remember those ubiquitous commercials for Dr. Pepper, in which a handsome young man led a crowd of dancers through the streets, in Pied-Piper fashion, all the while singing the catchy jingle, "I'm a Pepper." It was as much a part of the era as G.E.'s "We Bring Good Things to Life," and of course, McDonald's "You Deserve a Break Today" (both written by Barry Manilow, incidentally).

However, if you were under a proverbial rock back then, or more likely if you were not yet a twinkle in your mommy and daddy's eyes, then here's a little reminder:



Chances are, if you're reading this blog, that even if you're too young to remember those old school Dr. Pepper commercials, you definitely recognize that handsome young man. That's because he's David Naughton, who would very soon thereafter rise to horror immortality in a starring role in John Landis' classic An American Werewolf in London.

It was certainly a most unorthodox career path, and definitely not one Naughton expected to embark upon when moving to New York City to find stage work after graduating from the London Academy of Music and Dramatic Arts. At age 24, he landed his first dramatic role in the 1975 production of Hamlet at Lincoln Center, starring Sam Waterston and directed by Joseph Papp. However, he probably had an idea that his career had some unexpected things in store for him when not long after, he scored his first screen role--an appearance on the Planet of the Apes TV series.

However, it would be the following year that Naughton would land the part that would literally make him a recognizable star. And it was not a play, nor a movie, nor a TV show, but a soda commercial. Dr. Pepper was launching a brand-new campaign designed to convert people over to Pepper drinkers, and they were looking for a charismatic, fresh face around which to build it. The role required a lot of dancing, which gave Naughton pause when his agent initially made him aware of the project.

Intimidated by the sheer number of New York-area dancers who'd surely turn up for the auditions, Naughton showed up nevertheless. And got the part. Over the next four years, he would become one of the most well-known actors in American TV commercials, dancing and singing his way into the homes of millions, all the while extolling the virtues of Dr. Pepper.

"I don't understand actors who would rather work as bill collectors than try for a commercial," Naughton said in a 1981 interview with People magazine. "If I had been a purist, I'd still be waiting on tables. Dr Pepper opened Hollywood for me."

That statement was indeed an accurate one. It was while out in California doing public appearances for Dr. Pepper that another project came on Naughton's radar. Apparently, John Landis, the guy who made The Blues Brothers and Animal House, was getting to work on a horror comedy about werewolves. As the story goes, Landis and his wife Deborah were both avid Pepper lovers, and Deborah in particular was a big fan of Naughton from the TV ads. An interview was set up, and Naughton didn't even need to audition before being offered the starring role.

In addition to the Pepper commercials, Landis was also impressed with the fact that Naughton had lived in England, and had gone across Britain on a bicycle, since the film took place in England, and would involve Naughton's character, the doomed David Kessler, backpacking across the English countryside. It's also very possible that Naughton's very wholesome image, cultivated from the commercials, lent a certain shock value to the role that appealed to Landis.

Whatever the reasons in the end, Naughton was the perfect choice for Kessler. The film was a hit, grossing $19 million in its first month--quite a feat for a horror film in 1981--and finally attaching a name to the face and voice that millions of Americans already knew. David Naughton was now a bona fide star, and even if he arguably never quite surpassed An American Werewolf in London in his subsequent career, the film earned him a permanent place in the hearts of horror fans the world over. Certainly not something the former face of Dr. Pepper would have ever envisioned.

"I used to have people dance up to me in airports singing, 'I'm a Pepper, you're a Pepper,' " said Naughton to People. "Now they look at me and start baying at the moon."

Thursday, June 2, 2011

How YOU Can Help Nightbreed's Dr. Decker Return to the Silver Screen

Back in the spring of 1990, just before discovering girls, I discovered a film that would stay with me for all time after. It was a film that didn't make much of an impact at the time--in fact, I was alone amongst my friends in liking it--but would go on to become a cult classic in more recent times. That film was Clive Barker's Nightbreed, in my opinion the greatest horror flick to come from the formidable imagination of Mr. Barker.

After leaving the old Marboro theater on Bay Parkway in Brooklyn, I was instantly obsessed with the dark, macabre vision that had been laid out before me. However, I was amazed that the movie seemed to utterly disappear into the ether. That said, it warmed my heart to see it gain such a following much later on. And now, that rabid following may just lead to a very impressive fan film expansion--if one highly dedicated and enthusiastic filmmaker gets the funding he needs, that is.

New York's Matthew Gilbert is one such rabid Nightbreed fan, and his lifelong dream has been to expand on the Nightbreed universe by making a film about the notorious Dr. Decker, played with cold, terrifying precision by David Cronenberg in the original Barker film. Gilbert's vision is to trace the origins of Decker's psychosis, and the mad killing spree that takes place largely before the events of Nightbreed. And so, he's taken his cause to the masses.

If you go here, you will learn all you need to know, straight from the hopeful filmmaker's mouth, about his plans and what they entail. It's a bold ambition, and yet unfortunately at the moment, he is far from his goal. Posted on Kickstarter.com, the project will only be funded if $5,000 is raised by Sunday, July 10. As of this writing, Gilbert's total stands at $160. That's a long way to go, but we can help, Vault dwellers.

Do you love Nightbreed as Gilbert and myself do? Do you support quality independent horror filmmaking? Then take some time out to donate to this very worthy cause. As if the satisfaction of helping to create a Dr. Decker prequel is not enough, Gilbert and his associates are offering some very tantalizing rewards for generous backers. They range from a simple $5 donation, which gets you a mention in the film's ending credits, all the way up to a $3,000 donation, which gets you an Executive Producer credit and full participation in the making of the movie. There are lots of tiers in between (including a speaking role in the picture), which you can learn more about at Kickstarter.

In short, this is an endeavor worth supporting. Gilbert is obviously a passionate filmmaker looking to provide something valuable and entertaining to a highly devoted fan base which has not really gotten anything to write home about in two decades. And if The Vault of Horror can somehow help to make this happen, I would consider that one of the finest accomplishments of my blogging career.

Support Dr. Decker on Kickstarter
Dr. Decker Production Blog
Dr. Decker Facebook page



* Thanks to Kevin Maher for bringing this to my attention!

Monday, May 30, 2011

Random Ramblings from the Vault...

  • So, apparently Tom Savini is returning to makeup duties after years of pretending to be a movie star, lending his considerable skills to the upcoming Australian horror flick Mary Doe. While that's an amazing coup for the Aussies, will someone please tell me why George Romero couldn't coax him to do the same? It certainly would've saved us from the horrendous CGI of the last three Living Dead films...
  • True Blood Season 4 is fast approaching, which means it's time for ol' B-Sol to renew his HBO subscription. Don't get me wrong, it's fun going over my parents' to watch the highly addictive Game of Thrones, but I need to be settled into my own comfy couch for the further adventures of Sookie and Bill. Witches this season, too? Bring it on.
  • The sequel to Piranha 3D--brilliantly titled Piranha 3DD--is reportedly going to be far more "over the top" than its predecessor. Because of course, that film was the picture of restraint. One can only imagine what will be unleashed come November. I, for one, had a blast with the first one, so I'm sure I'll be there, hands partially covering my eyes like last time...
  • I finally caught Let Me In, Matt Reeves' American adaptation of the Swedish novel Let the Right One In, previously adapted by Tomas Alfredson in 2008. The original is very near to my heart, but that did not prevent me from enjoying this new version. It's more horror-based, which also means it lacked some of the emotional gravitas of the superior Swedish version. And while a well-made film, I could not shake the notion that it was completely unnecessary, from an artistic standpoint.
  • Is there anything more delightful than sharing the wonders of The Abominable Dr. Phibes with someone who's never seen it before? I think not.
  • What is it about Lucio Fulci's films that continue to draw me in and make me defend them to those who just don't understand his greatness? Granted, he was no Dario Argento (when Argento was at his best, at least), but I do feel he was a far better filmmaker than he generally gets credit for.
  • It's not entirely horror, but I'd like to pass along the name of a pretty nifty little sci-fi thriller I'm reading at the moment--Hunter's Run by George R.R. Martin (of Game of Thrones fame), Gardner Dozois & Daniel Abraham. I'm about one third of the way through this gripping little page-turner, in which the human race, attempting to branch out to other worlds, finds itself ghetto-ized by the far more advanced species already out there. Good stuff.
  • I've asked this question before, but it bears repeating: Who is our top modern-day horror movie icon? Past generations had the likes of Lon Chaney, Boris Karloff and Vincent Price. Who, in your humble opinion, dear readers, do we have now?
  • Still not sure how I feel about this whole Toho Godzilla reboot for next year. A CGI 'Zilla? Doesn't that make Toho into hypocrites, after (rightfully) ridiculing the American version in Godzilla: Final Wars?
  • For those who don't already know, the Avon Theatre in Stamford, CT is the place to go for some amazing old school horror cinema on the big screen. It's been a distinct pleasure to host their Cult Classics series along with Captain Cruella, and we will be returning for the following engagements: John Carpenter's Halloween (June 16), Alligator (July 7), It Came from Outer Space - IN 3D! (July 21), David Cronenberg's Rabid (August 4; to be shown as a double-feature with another top-secret Marilyn Chambers movie. Do the math.), and Troll 2 (August 11). See you there!

Friday, May 27, 2011

The Vault of Horror Commemorates the Vincent Price Centennial!

It would be an understatement to say that Vincent Price helped shape my development as a horror fan. Rather, for me, as for so many fans of the genre, Vincent Price epitomized horror. He was the genre. No other personality before or since (and that is not to say there have not been many great ones) has so perfectly captured the essence of horror as Price, combining genuine terror with outrageous fun at every turn. A true original, his work continues to inspire us, and today we remember it in particular because he would have been 100 years old.

Price was born 100 years ago today in St. Louis, Missouri, and the world is certainly a better place for that occurrence. He has enriched us, entertained us and delighted us, and I thank him for it from the bottom of my heart. In honor of this momentous day, please enjoy the little Price pastiche I've put together below, consisting of links to some of the many Vincent-related posts the Vault has featured over the years. You can also check out Brutal as Hell for some stupendous coverage...

The Tuesday Top 10: Favorite Vincent Price Roles - From The Tingler to The Brady Bunch, and all points in between!

The Many Faces of Vincent Price - A visual tribute. Egghead included!

The Many Faces of Vincent Price, Vol. 2 - More amazing Price shots...

Vincent Price Day: Sweet Dreams - A fantastic fan tribute video I posted on the anniversary of Mr. Price's death.

Trailer Trash: Vincent Price Edition - Clips for The Invisible Man Returns, House of Wax, Dr. Phibes and much more!

Retro Review: House on Haunted Hill (1959) - The legend at his campy best. Remake be damned.

Retro Review: Theater of Blood - My absolute favorite Price film. Well, maybe tied with Phibes...

Retro Review: The Last Man on Earth - The finest adaptation of Matheson's I Am Legend, in my humble opinion...

The Priceless Vincent Price - Another most excellent Price fan video...

Monday, May 23, 2011

TRAILER TRASH! Robert Quarry Edition...















Saturday, May 21, 2011

A Nightmare on Elm Street Part 4, as Reviewed by a 13-Year-Old B-Sol

Once a writer, always a writer, I suppose. That's the conclusion I've come to after having gone through piles and piles of stuff that had been previously cluttering my basement for years, and coming across a mother lode of scribblings from my youth. Not only was it proof positive that the writing bug had bitten me very early in my existence, but I also found further proof that my fixation on horror is certainly nothing new.

Case in point: Printed out in dot matrix fashion from my Commodore 64, I found a homemade "movie magazine" entitled "CINEMAG"--created by yours truly in the summer of 1988, at the tender age of 13. Even then, I was driven to share my opinions on motion pictures in printed form--go figure. To scan through the pages of CINEMAG (there was only one issue ever made) is to peer into the adolescent mind of a developing cinephile, with articles on Tucker: A Man and His Dream, A Fish Called Wanda, Young Guns and Clean and Sober.

But what caught my attention in particular was my review of A Nightmare on Elm Street Part 4: The Dream Master. NOES 4 was the first R-rated flick I had ever seen in a movie theater, and one of my earliest experiences with modern horror. I can remember having very well-defined opinions on it, and it was quite something to find those opinions preserved in this way. It inspired me to share those opinions with you--and so, without further ado, I bring you the transcript of that very article, taken from the stapled pages of CINEMAG...

A Nightmare on Elm Street 4 - Are You Ready for Freddy?

He has been the most commonly known movie monster since Dracula. A classic cult figure since he first appeared on the screen almost a half decade ago. He is the villain of three high-budget horror films, the fourth of the series just released. The character is Freddy Krueger. The movie series--A Nightmare on Elm Street.

When one thinks of a slasher film, one thinks of a low-budget, blood and guts, no-plot, piece of garbage film, as the Friday the 13th series has proven [Ed. note: Even then, I hated Friday the 13th!]. But one notices a definite difference in these films. First of all, these films are considered by most to be genuinely scary, and not just bloodfests. They even border on the realm of science fiction, for the special effects are highly acclaimed. Overall the past three (the original, Freddy's Revenge, and Dream Warriors) got pretty satisfactory reviews from major critics. And the public obviously likes them, for they have a combined gross of close to $200 million.

But most horror film series have a tendency to become repetitious after a while. Can this happen even with such a successful series as Elm Street, especially upon the current release of the latest episode, A Nightmare on Elm Street: The Dream Master? One redeeming factor is the fact that the special effects become more common and more spectacular in each film, since Freddy becomes more powerful with the more children he kills. I mean, in the beginning, the extent of his powers would be to pull someone into a bed, where now he actually turns a kid into a roach (upon trapping her in a roach motel, he sneers, "You can check in, but you can't check out!") The acing, as usual, is far from top-notch, so we may see Freddy as a movie critic back from the grave for revenge. Most critics share my view that the series is becoming tiresome, and the suspense and fear element is almost completely gone in this film, giving way to pure gore.

This movie, though, is presently the number-one movie in America, but this is almost certainly because of the popularity of the last three films, and so it may not be top for very long.

Personally, though, having seen the film, I see it simply as a rush job made to tie up any loose ends presented in the last sequel. But you don't have to take mine or anybody's word for it--go to the theater, buy some popcorn, cuddle up to your girlfriend, and get ready for Freddy...

Thursday, May 19, 2011

Retro Review: Maniac (1980)


One of the very best things to come out of this whole Vault of Horror experience has been the opportunity to host films at the historic Avon Theatre in Stamford, Connecticut. I've been doing it since last fall along with the amazing Captain Cruella, and even though the good Captain could not be with me last week, I'd have to say that it turned out to be one of the most fascinating Avon experiences of them all.

The reason I say this is that it was my first chance to see William Lustig's grindhouse classic Maniac, starring one of my favorite character actors, Joe Spinell. I had come very close to seeing it a couple of years ago at a special screening at the Tribeca Film Festival, but meeting up with fellow blogger extraordinaire Tenebrous Kate and her Baron for drinks beforehand resulted in a whole lot of drinks, and very little moviegoing...

And so, I was quite intrigued to find that the Avon was going to be showing it, and jumped at the opportunity to be a part of it. Especially since this would be more than a simple screening--rather, director/producer William Lustig himself would be present, and would be participating in a post-film Q&A. It truly was an honor to stand on the same stage as Mr. Lustig, and to join with my felow horror geeks--such as the one and only Chris Alo (pictured, left), impresario behind the Hudson Horror Film Festival--to take in a true exploitation "classic", if that word can really be appropriately applied here.

It was quite ironic to meet a man like Lustig; so pleasant, clearly full of a zest for life and quick to joke (he was surprised to learn I was the guy behind the Vault of Horror, since I "looked like a banker")--and then sit down and pay witness to such a grim cinematic exhibition as Maniac truly is. To call it a finely made film might be a stretch, but it certainly was a gripping experience, and one that I'm very pleased I sought out.

One of my favorite aspects of Maniac is the time and setting. As a native New Yorker who grew up during the Koch years, I remain fixated on the era of New York in the 1970s and early 1980s--such a different time than now, when Manhattan was a much more lurid, and downright scary place, filled with crime, and every depravity imaginable. A far cry from the Disney-fied NYC of today, it's a city that comes to life in Maniac, warts and all. It might be paradoxical to wax nostalgic for this era, but I do--and I can tell that Lustig does, as well.

Through the lens of Lustig's cinematographer Robert Lindsay, Manhattan is presented in a perpetually grimy, sleazy, grainy haze. This is the era of Son of Sam and hookers on every corner. This is the world through which Spinell's Frank Zito wanders, stalking beautiful women on a rampage of wanton destruction.

In the main role, Spinell is a veritable tour-de-force, and no, I don't find this to be an exaggeration. With a career filled with memorable roles as the asthmatic bookie Mr. Gazzo in Rocky, the shady Willi Cicci in The Godfather ("The family had a lotta buffers..."), and the dispatcher in Scorsese's Taxi Driver, this one stands out without question as the defining moment. Exploitation film or not, this is a performance that is quite literally worthy of an Oscar nomination, and one of which Spinell was rightfully proud.

Portraying the murderous Zito as a classic Freudian disaster, Spinell is at times chilling, at times darkly humorous, and always effective. The actor breathes such life into him, that we feel we are getting a glimpse into the world of a real-life serial killer. The script, co-written by Spinell and collaborator C.A. Rosenberg, presents Zito as a psychologically ravaged human being, part Norman Bates, part giallo-style slasher, part Berkowitz--a killer with a shocking level of depth. And the film, told from his perspective, becomes a dark journey into the depths of the human mind.

The lovely Caroline Munro shows up as Zito's highly unlikely love interest Anna, a photographer who represents for him the ultimate, unattainable image of femininity--the closest embodiment he has yet found of his long-gone mother--the woman whose perceived neglect and abuse set the young Frank on the path to his misogynistic killing spree. There's a lot of Hitchcockian influence to be felt in her presence in the film, as well as in her interactions with Spinell. As Lustig himself said during the Q&A, Hitchcock influenced every filmmaker who came after him--and even though Lustig may not be someone typically mentioned in the same breath as Hitch, the pronounced influence is there, nonetheless.

The production may have been notoriously shoe-string (made for under $100,000), but that only adds to the film's effectiveness. Lindsay, along with production manager Andrew W. Garroni, join forces to provide Lustig with settings that are often jarringly lit, and a climactic cemetery scene is so filled with fog as to be almost a parody. These over-the-top aspects make Maniac a delirious fever dream of a film, as does the gruesome makeup effects work of Tom Savini and Rob Bottin.

Those two men--the former fresh off Friday the 13th and the latter poised to begin work on John Carpenter's The Thing--drench this picture in blood and guts, ensuring that the MPAA would have much to gripe about. And even though an R-rated cut was made, this was the glorious unrated version that once unspooled in grindhouse dives all across America--including the Avon itself, during a previous lifetime.

As for the Q&A, it had to be one of the finest Avon Q&As I've ever been a part of. Lustig was gracious and genuinely engaged, answering every question that was posed to him both by the audience and Adam Birnbaum, the Avon's Director of Programming. No topic was off-limits, and Lustig was more than willing to take the viewers all the way inside the filmmaking process, sharing anecdotes and technical secrets without hesitation. Here's just a brief taste of the highly engaging session:



Maniac is a standout example of the B-grade exploitation cinema of a time in movie history which is long gone, and will not be coming back any time soon. In today's era of glossy, safe horror, it is a seedy blast of stale subway air, and I mean that in the most complimentary way possible. I cannot believe it took me this long to discover it, but I'm glad I did. And if you're an aficionado of grindhouse cinema, than William Lustig's Maniac is without question something well worth experiencing.

Wednesday, May 18, 2011

The Many Faces of King Kong










Friday, May 13, 2011

In Honor of Friday the 13th--JASON GOES SHOPPING!

Happy Friday the 13th, Vault dwellers. I've never been very superstitious, so I've never really attached bad luck to it. As a matter of fact, it's a day close to my heart, because I was actually born on one. I know, not much of a shock there. Anyway, in recognition of the day, please enjoy this marvelous fan film by Sean Dillin, featuring a certain Mr. Voorhees.

You know, I think I may have actually been behind the big guy at the Stop 'n Shop checkout a time or two...

Saturday, May 7, 2011

VAULTCAST: The LANCE HENRIKSEN Interview!

Aliens. Pumpkinhead. Near Dark. Millennium. The list goes on and and on. Lance Henriksen is a legend whose work has inspired me since I was a child. And last night, I got to interview him. In a career filled with celebrity interviews, I have to honestly say that this was one of the absolute biggest for me. A fanboy moment, if you will.

With today being the conclusion of the epic Lance Henriksen Blogathon hosted by John Kenneth Muir, what better time to unleash this, perhaps the proudest moment in Vault of Horror history? I'm very excited to present the VoH Lance Henriksen interview, in honor of the publication of his new autobiography, Not Bad for a Human, co-authored by Joe Maddrey.

You may listen on the embedded player below, or proceed to the Vaultcast page and download it for listening at your leisure!


Check out my review of NOT BAD FOR A HUMAN over at Fangoria.com...
From the Vault Archives! The Many Faces of Lance Henriksen...

Special thanks to Rebecca Feldbin of Nancy Iannios Public Relations for helping to make this interview possible.

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