scott-clevenger

If I may borrow the immortal words of Tom Servo, Larry Blamire is "a national friggin' treasure." Many writers and directors have trafficked in parody and pastiche, but Larry has three things going for him that I've rarely seen demonstrated by other filmmakers: An encyclopedic knowledge of movies, from the most obscure Poverty Row programmer on up; an infectious enthusiasm for the output of auteurs whose ambitions are bigger than their brains; and a unique style which combines brilliant wordplay and antic comedy in a way that makes one suspect he's actually the secret love child of Preston Sturges and Dr. Seuss. In other words -- he's a triple threat. And all of these qualities combined to make THE LOST SKELETON OF CADAVRA one of the funniest films of the last few years.

So how does the sequel fare? Surprisingly, it doesn't really feel like a sequel. I went in prepared for more of the same, but THE LOST SKELETON RETURNS AGAIN takes on a whole new series of clichés, primarily drawn from those low budget adventure epics -- rich in potted ferns and stock footage -- that thrived on cheap back lots from the early 30s to the late 50s. But LSRA wanders beyond the narrow confines of jungle pictures, parodying everything from gangster movies (there's a hilarious scene which pretty much guarantees you'll burst out laughing the next time you see a movie character order another to "take your gun out -- slowly") to those Mondo films of the 1960s, with their salacious native dances (believe me, you'll never look at cantaloupes the same way again).

All the actors from the original film make a return appearance, alongside a few new additions to the Blamire stock company. But it's not necessary to have seen the original LOST SKELETON (although I'd recommend checking out the DVD), or even many of the films the sequel lovingly mocks, because the jokes come so thick and fast there's something there for everybody. If you can appreciate a comedy that's smart and silly at the same time, you'll enjoy THE LOST SKELETON RETURNS AGAIN.

I've seen writer-director Larry Blamire's three previous comedies (THE LOST SKELETON OF CADAVRA, TRAIL OF THE SCREAMING FOREHEAD, and THE LOST SKELETON RETURNS AGAIN) each a funny, affectionate and wildly inspired satire of Z-grade sci-fi films from the 50s and 60s. But DARK AND STORMY NIGHT, which I saw in a special screening at the American Cinematheque in Los Angeles, goes beyond a simple spoof to a kind of wonderfully weird and wild verbal comedy which, at its best, reminded me of the Paramount-era Marx Brothers.

The film is a giddy bouillabaisse of every Old Dark House picture ever made, from the eponymous "The Old Dark House," to "The Bat Whispers," "Murder in the Blue Room," "Hold That Ghost," "And Then There Were None," and even a few chunks of Lugosi's "The Black Cat" (1934) and "The Ape Man," all stirred together by a loving, but demented hand.

The result is one of Blamire's funniest films, and showcasing some truly inspired performances -- Brian Howe's Colonel Blimp accent and permanent wince, Fay Masterson's alternately weepy and creepy ingénue, Andrew Parks' Noel-Coward-from-Costco character, whose constant epigrams are so circular they hang themselves, and Dan Conroy's straight-from-Central-Casting cabbie whose Brooklyn dialect makes Leo Gorcy sound like Alistaire Cooke. But for me the most pitch-perfect performances were delivered by Dan Roebuck and Jennifer Blaire as the competing reporters 8 O'Clock Farraday and Billy Tuesday. They spat their period gibes and rapid-fire, side-of-the-mouth patter with a wise-guy brio that was not only funny, but which so nicely nailed their beloved B-film archetypes they could've been dropped into any Poverty Row programmer of the period without the audience batting an eye. Both were great, but personally, I've always had a weakness for sharp, fast-talking dame reporters, and Blaire skillfully channeled a combination of Glenda's Farrell's Torchy Blane and Roz Russell's Hildy Johnson that left a smile on my face long after the film was over.

The jokes are non-stop, and yet, like Lost Skeleton, the picture is not only an affectionate spoof, it's a story that holds together and pays off in its own way. Anyone who's ever spent a rainy Saturday afternoon watching old Mascot, Monogram, or PRC programmers on TV will likely adore this movie.

Basically, it's a hilarious flick with a shocking twist ending; like THE CRYING GAME, but with less foreskin. And how often can you say that?