Thanks to anyone who has read this far in this series – I wrote it, as you might guess, to get over feeling sad at Corman’s death, but also to pass on various thoughts, theories and observations I had about the man and his work.
To wind it up, I thought I’d jot down the ten Corman films I like to rewatch the most – not the best, mind, just the ones I like to put on as comfort food. Four of these he directed, the other six he produced.
Attack of the Crab Monsters (1956)
Chuck Griffith’s script is a marvel, packed with intelligence, pace, wit, imagination, twists and emotion. Every scene progresses the story and raises the stakes. It’s smart. The world is in danger. The sacrifices at the end. Roger Corman doesn’t do it justice – but he was responsible for its existence in the first place, so thank you, Roger.
The Undead (1957)
Little Shop of Horrors is fantastic of course, but the other Griffith-Corman combo I really adore from the late ‘50s is this reincarnation thriller/drama. Another wild, imaginative, well structured script from Griffith, some of it is downright silly on screen (dancing little people, the costumes) but the story has integrity and the ending is emotionally powerful. Oh, and Alison Hayes is terrific.
The Raven (1963)
There is a magic about this film that is hard to define. Or maybe not so hard – those credits, that cast (Price, Karloff, Lorre, Nicholson, Hazel Court), that script from Richard Matheson, the art direction, those corridors, that wit, that duel. It takes place in this wonderfully sealed world in never never land, and is full of cheer and good nature – I think that’s why it’s my favourite Poe, it’s ultimately life affirming and fun. Price is clearly having the time of his life, as are Lorre and Nicholson. Maybe not Karloff, but that’s part of the film’s joy too. I have nothing but respect and affection for the other Poe films, especially House of Usher which started it all, and Masque of Red Death which is so evocative and Tomb of Ligeia which is so complex and… look, anyway I love them all, but Raven is the one I keep coming back to. Incidentally, if you think this sort of comedy is easy to do, look at the job Jacques Tourneur did with Matheson and the same cast in Comedy of Terrors – not good (it’s too silly, while The Raven is fun but never loses its stakes or element of the supernatural).
The Terror (1963)
Yes, there’s the charm of this film’s “making of” story, of course that’s the main appeal, but this too has its own magic – Jack Nicholson in his ill-fitting Napoleonic uniform, Sandra Knight evocative on cliffs, the crashing rocks, the desolation and isolation, Karloff almost drowning in water, Dick Miller spitting out exposition. It’s wonderful. I mean, it’s not but it also is, if you get me.
Queen of Blood (1966)
I loved this film as a kid. Showed it to a friend as an adult – it didn’t work, was too hokey. Then watched it again with insomnia at 1am and it was perfect. That’s how this film should be seen: alone on a small screen in the wee small hours. It’s so winning, with its Soviet effects and fascinating cast – John Saxon, Dennis Hopper, Florence Marley, Basil Rathbone. Mars is genuinely strange, you do feel like you’re in another world. Maybe I wouldn’t feel this way if I hadn’t seen the film as a child. But it’s definitely got the best poster artwork of any Corman-financed film. (Curtis Harrington directed.)
The Student Nurses (1970)
Stephanie Rothman nails it – smart, funny, funky (love the music), diverse, sexy, thought provoking. Okay yes some of it is hokey (the make up on the dying guy, Elaine Giftos running around dancing) but the leads are likeable, effective performers and very attractive, the subplots are strong, the characters are different, the resolution satisfactory. My second favourite three girls film would be Summer School Teachers, from Barbara Peeters, in part because of Candice Rialson who made every movie she was in so much better. The Student Nurses gets my vote though because of its amazingly gutsy abortion subplot.
Death Race 2000 (1975)
Joyous anarchy is probably the best way to describe this film, which exemplifies the best of New World – exciting action, sexy actors, progressive satire, a wonderful cast, imaginative production value. Director Paul Bartel was right to insist on comedy – Roger Corman was right to insist on action. Chuck Griffith added his own special brand of magic pixie dust. It all marries perfectly. A dazzling cast including David Carradine, Sylvester Stallone and the spectacular Roberta Collins and Mary Woronov… but the heart and soul of the movie is Simone Griffeth, the female lead, who anchors the reality of the story and drives it home. She doesn’t get enough credit. I love this movie. I love all these movies.
Hollywood Boulevard (1976)
Joe Dante and Alan Arkush both made better movies for Corman, but this is such a happy film made by two people who clearly love cinema so much and the fact that they’re making a picture together, I had to include it on this list. Candice Rialson is the perfect lead, bright and bubbly, Tara Strohmeier and Rita Johnson are engaging as the other starlets, and the film has two aces with Paul Bartel and Mary Woronov in the support cast. Mind you, Dick Miller is no slouch either, Jeffrey Kramer is an enjoyably dorky love interest for Rialson, and there’s fun cameos from Charles Griffith and Jonathan Kaplan. Some of the exploitation demanded by Corman is awkward (the wet T shirt scene) and unpleasant (the sexual assault scenes) but other genre stuff is very well done, like the threesome and the slasher sequence. A fabulous valentine to filmmaking. I mean, there’s an Albert Zugsmith joke in there, how can you resist that?
Rock n Roll High School (1979)
I came to this film late but quickly grew to love it, with PJ Soles given the chance of a lifetime as Riff Randell and taking it body and soul. It benefits from the Ramones – the energy and on screen awkwardness (the film would’ve been fine with original choice Cheap Trick but not as special or energetic). There’s MAD magazine style humour, incredible vitality, fantastic numbers, the superb New World stock company in action (more sublime work from the firm of Bartel, Woronov and Miller), Clint Howard is terrific, a perfect climax, and most of all, the film’s secret weapon: Dey Young, the charming ingenue who plays the nerdy best friend of Soles. Their relationship – loyal, mutual beneficial, cribbed from Gentlemen Prefer Blondes in the best way – is the heart and soul of the film. Most of the focus goes on the Ramones and Soles, and they deserve all their praise, but for me, it’s the plots involving Young – her love for Tim Van Patten and friendship with Soles – that keep it grounded. There is love in this film – Alan Arkush’s love for musicals, Riff Randell’s love of the Ramones music, and Kate’s (Dey Young’s) love for Tom (Van Patten) and Randell.
Battle Beyond the Stars (1980)
New World at its peak – a relatively big budget made to appear even bigger by some talented people, including a young Jim Cameron who did sets, James Horner who wrote the perfect score, and most of all, John Sayles, who wrote one of the best space opera scripts of all time. It’s so rich, complex, fast moving. Richard Thomas and especially Darlanne Fluegel are wonderful as the main lovers, and the support cast is something to see, with special kudos to George Peppard, Robert Vaughn, Sybil Danning… oh hell, it’s all fabulous. Corman tried other trips into space (Galaxy of Terror, Forbidden World, Space Raiders) but as with his attempts to repeat the success of Death Race 2000 and Rock n Roll High School, he never came close. That’s the thing about movies – it’s hard to recapture lightning in a bottle. But Roger Corman gave us a lot of lighting over the years.
Rest easy, Roger. Thanks for being so special.
