The Return of NOZEGORE ??

Here is my new character design for Professa Wienergoblet's faithful and long-suffering lab-assistant, factotum, and whipping boy: NOZEGORE the dim-witted Hunchback.
I have also changed the spelling of his name by substituting the "s" with a "Z" (zed, for my UK readers).

copyright & TM 2010 Cushlamochree Comics and Rogue Evolent Designs

They Might Be Giants Video WITH VAMPIRES

I like the two-man musical group (more like a perpetual motion engine) THEY MIGHT BE GIANTS. I've only been a fan for several years though - - since I first heard their theme song for MALCOLM IN THE MIDDLE. While owning many of their Cds, I only in the last day became aware of this very, very clever video for their song DAMN GOOD TIMES which comes off of their THE SPINE album.
What's not to like with go-go boots, bats, a Vampire Boy, a Gal with Attitude, and just a uber-catchy beat. It's easy (for me) to dance to... I give it a 90.

The Return of PROFESSA WIENERGOBLET ??

Well maybe. While I was (and am) fairly happy with yesterday's sketch of the official "character design" of "THE NUMBER-ER"
I'm not as satisfied with the "PROF."
One preliminary drawing had him very, very short with an even bigger cranium. But he was too cute that way. No Dexter's Lab mojo needed. Now (below) he's taller, almost as tall as The Number-er. Clyde Crashcup (boomers??) was fairly tall. This is not the final, final version, but I wanted to post it anyway. Just to show youse guys/gals I ain't totally slackin'.

The Return of "The Number-er" ???

Some of you may remember that about a year ago (December 2009 in to early January 2010) I wrote a "kind-of" daily comic strip by the name of PROFESSA WIENERGOBLET. Under my alias pen-name of Roger Evolet I had a stable of Monster Characters (Professa Wienergoblet, Nosegore, Dogosi, Fullmodo, Dr. Von-Hadeschant, and THE NUMBER-ER).
The art work (as it was) was provided by an on-line character-generator. I am seriously thinking of trying to bring this strip back... ONLY THIS TIME with my own art work.

I am massively inspired by my good friend, Hallmark artist and co-creator of HOOPS & YO YO, Mike Adair. I am also inspired by my favorite artist/cartoonist of 2010, UK "Prince of the Pencil" Shane Jones. Let us not forget the great multi-talented "Jack of all things illustrative/creative" Keith Seifert. (there's also the great Gabriel Corbera, Bob Canada and other heroes).

I hope you agree with my general (life-long observor but art-amateur) belief that there are only SO MANY BASIC CHARACTER DESIGNS for easy-to-draw black & white outline monster characters. It's truly hard to create a design style (character template) that is TOTALLY unique and original... never before done... with no artistic antecedants.
I, could never in a hundred years carry the pencil case of my heroes: Adair, Seifert, Jones, et al. The Blood Count, Renton & Maxwell etc., Hoops & Yo Yo, are simply genius. I salute these characters.
But, I still think there can be other stories told with cartoon monster characters (like I tried to do a year ago with those horrible computer-generated generic lego-type bodied characters). I don't know if this "will fly" or how long it will take to "gin up" the rest of the cast... but this is a tenative start.
So here, take a look at my newest proto-type of our favorite Vampire character: The Number-er!


This is what he looks like when not dressed in his work uniform as night-time stock boy at the local CON-VEENY food & gasoline store.

What do ya think?

LOOK!!! What rogue evolent got from Santa

My son, (Moth "T") gave me a great tROAD kinda gift! (see above). It's a Lon Chaney as Erik "head knocker" from Chaney's most famous pic': PHANTOM OF THE OPERA. What the difference is between a "bobble head" and a "head knocker" I'm not sure of... probably brand Trade Marks.
This one proudly goes on my Cd cabinet next to my Creech (the Gill Man) "head knocker" from last Christmas (2009) - - also provided by my boy. He may not be a monster-kid (he's more of a comedy & action/adventure cinephile) but he sure knows how to make his monster-kid-wannabe Pop feel like a "kid" again.


Here's another assortment (below) of some Christmas cartoon strips for today (12-25-10) from my "daily read." Click on 'em to enlarge the size for easier reading if you're so inclined.

MERRY CHRISTMAS FRIENDS

From all of us at Castle Rogue Evolent a happy, merry, joyous, and peaceful Christmas to one and all. All of your friendly, witty, and informative comments have been a source of constant and daily "presents" for me during 2010.
HO HO HO(rror) blog-tidings to one and all.

- r/e

Sunday MYSTERY MATINEE delayed for a bit!

"SO SORRY! Humble Detective unable to be with you today, but will be back shortly."

Due to some work and family constraints I am unable to bring you SUNDAY MYSTERY MATINEE today -- Sunday December 19th. I hope to have my review of CHARLIE CHAN AT THE OLYMPICS up later this week!

Thanks for your patience Chanophiles!

SATURDAY'S COVER(ed) # 2

I probably (maybe) love music even more than I love movies. I love "rock and/or roll" (to quote Rev. Lovejoy) even more than genre films. But tROAD is not a music blog. And sadly (for me) I have no personal ability to produce/re-produce or create music on my own. I'm a spectator. I can't sing, harmonize, match tunes, or tune a fish (old REO joke). I have a hard time turning on an AM radio.
But I will continue to indulge my love for classic rock, prog rock, metal, et- al when it comes to classic genre-related album covers. The late 60's leading into the 1970's was a great time for album-art. (two-words: Roger Dean).
This Saturday's installment comes from DIO's classic album DREAM EVIL (below)

The art was produced by one Steve Austin (and I don't think it was the 6 Million Dollar ex-astronaut one). I love the way the little child is sweetly sleeping (thumb in mouth) totally oblivious to the creatures under the bed, the little fairy at the foot of the comforter, and the DIO-trade-marked Anubis god standing menacingly in the window frame - - looking in like some Frankenstein Monster. The color scheme of light blues and pinks work well against the Egyptian dog-guy's darker hues and also the bright red DIO logo in the upper right.
Here (above) is an enlargement of a DIO cloth patch which features a segment of Austin's picture. Here you can see a little more clearly the famous "devil's horn" hand gesture that Dio supposedly made famous (and ubiquitous) at all heavy rock and metal concerts. I remember people doing this hand gesture years earlier for either the University of Texas' cheer of "Hook 'em Horns" or in an attempt to make a pornographic gesture. But today, it's the universal salute of defiant, anti-"the man" independence. RAWK ON readers. Crank up some DIO, any DIO will do. Ozzie (as good and distinctive as he is/was) may be the self-proclaimed "effin Prince of Darkness," but DIO was the true "King of Rock & Metal Vocalists!"

Here (above) I reproduce the rest of Austin's painting. This is the left side of the cover art above, showing the remainder of the little child's bedroom. It shows a mysterious death-like figure in the open door frame. And also... is that clown toy holding a knife?

The Music Dies Again: Stuart Woolly Wolstenholme R.I.P.

I have posted some "obits" over the course of this blog's 14-month existence. None have hit me as hard as the death of Stuart Woolly Wolstenholme. You probably never heard of Woolly. He was one of the original founding members of the seminal British "Pastoral-Rock" band BARCLAY JAMES HARVEST. And though BJH has a huge discography and was (is) mega popular on the continent (especially in Germany) they never caught on here in the USA. Our loss. Your loss. I found them back in 1977 when I was on my quest to locate music in the vein of my favorite band at the time (the Moody Blues). I found BJH, and the Moodies were never my favorite band again. Woolly was a talented keyboard, piano, synthesizer, and mellotron wizard as well as a gifted composer. His song RA (from Octoberon) is brilliant piece, as is the song below (Sea of Tranquility).

What is so tragic is that Mr. Wolstenholme took his own life in a suicide, after suffering from severe mental illness. I did not know of his condition so the loss of one of my musical heroes by this cruel and tragic turn of events is all the harder to take.

If you've never heard the sweetness and power and truthfulness and innocence, and decency of Woolly's music (and of all of BJH's stellar canon) do yourself a Christmas favor and buy some of their music.
And, please, if you know of anyone suffering from mental illness, get them help. Be of help. This is so sad.
The music has died here today at castle rogue evolent.

STUART WOOLLY WOLSTENHOLME April 15, 1947 - - December 13, 2010


Woolly on the far left.


Woolly in the last couple of years.

Elvis Sings Lovecraft

I used to sometimes post a (so-called) "Monday's Musical Moment" wherein an embed from YouTube gave me an easy post to start out the work week; plus, I do like musical videos...
I haven't done that in a while, (then again, I think this is just a repeat video that I posted last year at about this time) BUT.... again, in the spirit of the Season, I give you THE KING: (I of course mean H. P. Lovecraft)

Charlie Chan at the Opera

KARLOFF STEALS THE SHOW
(well, almost)

CHARLIE CHAN AT THE OPERA (1936), B&W, 68 minutes, USA, English, Fox Film Corporation, directed by H. Bruce Humberstone, Starring: Warner Oland, BORIS KARLOFF, Keye Luke, William Demarest, Frank Conroy, Nedda Harrigan,

This is the BEST Chan movie I've seen so far! This is the one you've got to check out - - especially if you love BORIS KARLOFF (which I know anyone reading this blog regularly has to!).

The movie's opening scene is a thunder & lightning storm outside the Rockland State Sanitarium. We, the viewers, are informed by the Guards, that the mysterious (and OH, SO, DIGNIFIED) crazy guy playing the piano and singing opera, is an insane amnesiac that's been incarcerated for years. Nobody knows who this 'ward of the state' is. It's of course, Boris Karloff!

Boris Karloff, with a full head of hair, was a very distinguised and nice looking man (sans his 'Monster' make-up by Jack Pierce). When one of the guards happens to bring him a newspaper, with an article about the San Marco Opera Company performing in Los Angeles, Karloff goes beserk and overpowers the guard and escapes from the Sanitarium. It seems that there is some dark secret in Karloff's amnesiac past that has been triggered, and now he remembers what was done to him some 13 years in the past. He was locked inside his dressing room during a fire that burned down an opera house. We are not sure whether the Opera's Prima Donna Mme. Lilli Rochelle (played by Margaret Irving) or Karloff's under-study (who went on to become the starring baritone) Enrico Borelli (played by Gregory Gaye) are responsible for this tragedy which has befallen Karloff's character of Gravelle. But he does have motive to see his long-lost daughter who is the child of Mme. Lilli.

Even the opening "title credit-card" (above) shows the significance of Karloff in this Chan movie. The "Uncanny One" is actually given co-billing with Warner Oland as it reads: "Warner Oland vs. Boris Karloff." How cool is that?

Chan is initially called in to assist the L.A. Police in protecting the Opera's star Diva (Mme. Lilli) after she receives a death threat the day before the opening night debut of "Carnival." In the photo (above) we see Chan/Oland with Police Inspector Regan (Guy Usher) and, in the middle, famed character actor William Demarest as tough-talking Sergeant Kelly. Of course for ANY BOOMER worth his/her "salt," Demarest is best known for his portrayal of "Uncle Charlie" in the iconic 1960's family sit-com: MY THREE SONS.

Kelly/Demarest doesn't like having Chan assist the PD and calls him "Egg Foo Young" in a racially demeaning epithet. But, every single scene shows Demarest to be a complete incompetent, know-nothing, loud mouth, Irish flat-foot. If it's any group that's being smeared... it's the Irish and not the Asian community. :)

I love the way the Oland Chan-series' continuity is recognized - - Inspector Regan opens his discussions with Oland by congratulating him on cracking the Gambling Ring (see last Sunday's review) that menaced Chan in CHARLIE CHAN AT THE RACE TRACK. This little attention to detail is nice!

Reprising his wonderful role as Lee Chan (aka Number One Son), Keye Luke has a couple of nice scenes, but all-in-all is under-used in this film. I was disappointed he did not have more screen time. I think most of his usual comic-relief was instead supplied by William Demarest (Sgt. Kelly).

We see Keye Luke (above) dressed up as one of the chorus members of the opera to do undercover work for his "Pop." Chan is holding the murder weapon. Both the Diva (Mme. Lilli) and her illicit lover c0-star (Baritone Enrico Borelli) are found stabbed to death by the dagger that Borelli's character (Memphisto) wears at his belt. The Memphisto role is the same role that Karloff's Gravelle had made famous. Plenty of red-herrings are cast about. Both Borelli's wife and Mme. Lilli's husband are suspects. Nedda Harrigan turns in a nice performance as Lucretia Borelli and Chan-veteran-actor (he played Prof. Thurston in 1935's Charlie Chan in Egypt) Frank Conroy is very convincing as jilted husband, to the Diva, Whitely.

Things I Liked:

The music itself is very well done. Even if you don't like opera (I happen to like some opera) you would admit that the music by Oscar Levant and the libretto (if you speak Italian) by William Kernell is, well, Italian :)

No, Karloff does not sing. His daughter Sarah Karloff (in a DVD extra-interview) makes it clear that singing was not one of his many talents. :) But, whoever was doing the singing (which the actors were lip-synching to) did a very operatic job.

I loved seeing all the tuxedos, top-hats, and old cars. They just don't make things like the mid-1930's any more.

There's a great little acting performance turned in by Maurice Cass as stage-manager Arnold. He has the best line in the whole movie - - which occurs after it becomes clear that a stranger (ala Erik/Phantom of the Opera) has been prowling about the building - - Arnold, intent that the "show go on," barks to the entire company of actors "THIS OPERA'S GOING ON TONIGHT EVEN IF FRANKENSTEIN WALKS IN!"

Bill Demarest has three really good prat-falls. The guy could do physical comedy when he was young (stuff that would have broken Uncle Charlie's hip) He also does a great Edgar Kennedy "slow-burn/full-face hand-wipe" schtick. Still, more Keye Luke would have been even better!

Though this may be the first Chan I've seen where Oland DOES NOT WEAR a silk-bath robe, HE DOES do the patented "finger-tip-grasp" that I love so much!!!

Keye Luke finally gets something to do in the cool scene where he uses a trap-door to go down into the Opera House basement and discovers some key evidence (pardon the pun).

Director H. Bruce Humberstone again uses some neat, cutting-edge, "state of the art" scientific technology (well, for 1936) with the crucial scene of teletype & proto-fax technology, wherein a Chicago Newspaper is able to send a black & white photo of Gravelle (Karloff) to the PD in Los Angeles.

MORE CHANISMS:

"Very old Chinese wise man say - - madness, twin brother of genius because each live in world created by own ego; one sometime mistaken for another."

"Unwise officer eat apple not yet ripe; get official tummy ache."

"Humility only defense against rightful blame."

"Confucius say - - Luck; happy combination of foolish accidents."

And even Kelly/Wm. Demarest gets off his own Irish-ism when at the film's end he actually has a begrudging respect for Oland, to-wit:

"You're All-Right! Just like Chop-Suey...a mystery...but a swell dish!"

But the two-words that make this the "creme de la creme" for Oland Chan movies: BORIS & KARLOFF.

Every second Karloff is on camera he is absolutely mesmerizing! His eyes are piercing and deep and Kharis-like even when not in costume or make-up! His voice is sonorous, languid, captivating and dulcet.

He is an utterly sympathetic character, and, the audience is left in "the dark" as to his true motives and responsibilities vis a vis the two murders until the final act of the show. The scene where he plays a child-hood lullaby on the piano for his grown daughter, in an attempt to have her remember him, is both breath-taking and heart-warming. And although I surmise that actress Charlotte Henry (playing Karloff's daughter Kitty) had glycerine placed in her eyes to simulate tears... it's nonetheless a tender and poignant scene. Karloff is such an engaging and commanding character. He may be mad, but he is NOT evil!

Can a genre movie be this cool? To have my favorite golden-age actor (Warner Oland) going up against one of my favorite Monster-Kid Actors of all-time (Karloff the Uncanny)?

In the near final-confrontation (well, actually the first and only scene in which Oland and Karloff face-off) Karloff's impassioned rant, and protectiveness for his unconcious daughter, is so intense that for the briefest of moments we ALMOST (I say "almost" ... I don't think it was there after all) see a twinge of fear cross the visage of Oland.

This is the ONE Charlie Chan movie you have to watch IF YOU ONLY END UP EVER WATCHING JUST ONE!

SATURDAY's COVER(ed)

A long time ago when this blog was young, I used to have a Saturday feature called (something-like) the "Logo/Character Mascot of the Week." I may someday bring that featurette back. But starting today (Saturday December 11, 2010) I'm starting a tradition of posting one of my favorite ALBUM ART cover pictures that is somewhat themed related to the genres that tROAD purports to care about (horror, monsters, science fiction, noir, mystery, suspense et al).
It's also an easy way for a lazy guy to get a post up over the weekend. You may not care for my taste in art (or music for that matter)... but to paraphrase the great comic Steve Harvey: "this ain't yo show!" :)

BLUE OYSTER CULT: Some Enchanted Evening

This was a for the "live" lp that BOC released in September of 1978. I wish I knew who did the art - - It's spectacularly bold, spectral, and grim! I love the BOC TM-symbol being used for the stallion's bit-harness/head piece.

New Toy for rogue evolent !!!

Today in the mail box here at Castle Rogue Evolent, my Funko Creature from the Black Lagoon was waiting for my own webbed hands!!!! [thank-you Amazon.com] This cool little pvc plastic figurine (a hardened plushie ?) is now sitting on top of my Advent stereo speaker alongside my other Creech statuettes.

S-W-E-E-T

Comic Review: DC UNIVERSE HALLOWEEN SPECIAL 2010

Since EVERY day is Halloween at tROAD, I bring you a mini-review of a comic book I bought several weeks back but didn't get around to reading until just recently. This is a DC one-shot and is an anthology comic book containing six short-tales that are Halloween themed, and which feature DC Super Heroes in horrific action! I've loved the DC stable of characters since around 1960 and monster stuff from shortly thereafter. This idea is a match made in Transylvania! No, the execution isn't as great as the concept, but in any anthology the material is always going to vary in quality from creative team to creative team. Overall this book is a lot of fun and I urge you to go to your comic shop and plunk down fiver to buy it. When one-shots that are horror-themed like this one STOP SELLING, then they will also stop getting made. It's no Eerie, Creepy, or even House of Mystery, but it's still pretty good nonetheless.
I love that cover (above) It sure looks like the big galoot is DC's Solomon Grundy and not the "Monster" of Frankenstein doesn't it? I'm not sure now who it supposed to be.

The first tale is titled: "Batman in Trick for the Scarecrow" (see picture above) and features both Batman and a hapless, helpless and frightened villain in the Scarecrow. Somehow, Scarecrow has gotten himself captured by a couple of sadistic little kids (maybe not sadistic really, but vengeful - - possibly paying Scarecrow back for things which happened last year??) who are able to torture him because he's been dosed with his own "fear-inducing gas." In a neat twist, Batman ends up rescuing the evil Scarecrow from the two children dressed up as mini-caped-Crusaders. The story is written and drawn by Billy Tucci. I like Tucci's art but it's his story which really shines - - I think it may be the best story in the whole comic!!!
I also love the orangish (sepia) color toned to the piece by Hi-Fi. A+ stuff.

The second story (above) features Batman, Robin, and I Vampire, in a tale titled: "Robin the Vampire Slayer." The script by Joe Harris is both cleverly ironic with crisp and humorous dialog, but also suitably dark and moody when it needs to be; not an easy feat in an 8-page story. It's the second best story after the opening one. And, the artwork by Lee Garbett is stunning! His use of shadows, shades of black and gray punctuated by reds and yellows (which of course is really the colorist and inker too :) ) and panel composition takes the honors in this anthology. His art is clearly "heads & shoulders" above anything else in this comic. Mega Kudos to Garbett. He is now on my "must check out more stuff" radar!!!

Next we have a short story where Flash must intervene to stop a monster from wrecking a Halloween costume party. But WHO is the monster? The story is titled: "Time or Your Life" and features THE MONSTER OF FRANKENSTEIN as an heroic bounty-hunter character who ends up helping Flash defeat a lycanthropic killer. The twist in revealing that the the MONSTER is actually a good-guy, and that one of the perceived victims (good guys) is the wolf-creature is done well. For me however, the story is only "meh." I stopped caring about the Flash way back in 1985 (or so) when DC killed BARRY ALLEN (the only FLASH there ever needs to be) during the INFINITE (aka 'Infereior') CRISIS debacle. Yeah, . . . I'm an old crotchety guy.... "Get off my lawn!" The adequate story is by Alex Segura and the sub-par art is by Kenneth Loh (though I did love the way Loh draws the MONSTER in his initial (third of a page filling) appearance!

The next story features Dead Man, Wonder Woman, the Cheetah and good-old Felix Faust. The story is named "A Night To Remember." It's good to see Faust back in action. I probably first stumbled upon this loser-of-a-magician bad guy way back around 1964 or so. But there's enough dark Lovecraftian-cult vibe going on in this story (written by Vinton Heuck) to hold ones attention. And then of course there's the always cool character of dead circus acrobat Boston Brand (aka Dead Man) who is so unique in the annals of "four-color" crime fighting. As Dead Man, in that red costume and tights, and the creepy bleached white skin, he can't even be seen by any other comic book characters!!! The only ones who see him as he really is, are all of us readers. His detective sleuthing and physical interactions (be it punching or simply moving an object) always have to be done through a spiritual "possession" of the body of an actual living person.

Wonder Woman has a great cameo, and her slug-fest with the Cheetah is, well, a "cat-fight" (ba...da...Dump!). Artist Dean Zachary is to be commended for drawing WW, . . . appropriately "healthy!" :)

In the most light-hearted tale, (picture above) titled "Medusa Non Grata" we encounter Klarion the "Witch Boy" as the petulant and emotionally challenged villain who is turning candy-giving households, along with street-walking "trick or treaters" into stone because of his total lack of social skills. He's not bad... just misunderstood.

Hot on the trail are two of the newer members of the Teen Titans. I don't know who they are. They might be from the animated TV series, or simply new additions to the DC universe. The green girl is a shape-shifter, so I'm thinking she's related to Gar the Beast Boy (or is it still Changling?). Her companion is (I think) some new Blue Beetle Jr. Where's Steve Ditko's Ted Cord when you need him? The story is top-notch (by Bryan Q. Miller) and the art is fantastic. Trevor McCarthy's pencils are the second best artwork in the comic (a close second to the aforementioned Lee Garbett). An enjoyable Halloween-themed vignette!

It's unfortunate that one of the weakest (maybe "the" weakest) stories rounds out the anthology. Again we have Batman co-starring (this time his cameo is only in Superman's demonic-influenced brain however) in the story titled "Fears of Steel." The story involves Superman's delusional hallucinations and the psychic fall-out produced, that occur because a supernatural parasitic demon-creature has attached itself to the back of his neck. Being that the 'thingie' is "magic" his powers and near-invulnerablity do not help him. It's only with the aid of Etrigan, The Demon (the Jack Kirby created characater with ties to Merlin and Arthur's Camelot) that Supes is able to be rescued and restored. The story seems forced and the artwork just doesn't appeal to me.

Yeah, $5.00 is way too much money for a 'funny book.' I'm not arguing that point. BUT... if you love Halloween, Monsters, and old favorite DC characters in different story situations... I still think you'd like this book.

I do recommend it!

Charlie Chan at the Race Track

CHARLIE CHAN AT THE RACE TRACK (1936) Fox Pictures Corporation, USA, English, b&w, 70 minutes, directed by H. Bruce Humberstone, STARRING: Warner Oland, Keye Luke, Jonathan Hale, Gavin Muir, Alan Dinehart, Helen Wood, Thomas Beck, Frank Coghlan Jr., John Henry Allen, John Rogers

The sharp looking poster art (above) is included as an insert in the DVD of this movie, which itself is part of Volume 2 of the Oland Chan's released as a box-set from 20th Century Fox.

The musical cues for this film are again supplied by Musical Director Samuel Kaylin, and for the most part the only accompanying music occurs during the opening title sequence. The lack of constant "sound-track-to-our-lives" mentality is not missed. This is a bare-bones black & white who-dunnint where story, character, and action propel the movie along at a fast clip. This movie feels almost faster than it's terse 70 minute running time. Director H. Bruce Humberstone is to be commended for not getting in the way of Oland and crew. The whole "life" of the Chan movie series almost directs these films without the auteur-ship of a visionary director.

After viewing several "behind the scenes" features as "extras" on the box-sets I own, I've discovered how tragic and sad Oland's life ended up. My favorite b&w genre star was an alcoholic. This is the movie where much is made by the movie experts of Oland's being inebriated much of the time on set, if the shooting ran much past noon. There is one "famous" scene in this film, the one at the race track for the final big race, where Oland was almost "out of it" as the crowd cheering scene was being filmed. Humberstone apparently had to use a loud "explosive noise" to get Oland to turn his head like the other actors were doing/acting in response to the race action. When the viewer knows this, it's very sad to watch this scene. But it does now possibly explain how Oland can look healthy and bright in some sequences, and a bit off, almost as if he's sick, in other scenes.

Synopsis: After running, and winning, the Melbourne Sweeepstakes, primo horse AVALANCHE, and his owner and team, arrive in Honolulu on their way back to the States. Because there was an at-Sea death of the horse's owner while on the cruise, Charlie Chan comes on board to lend his hand with the investigation. The murdered owner, Major Kent (played by George Irving) was apparently kicked to death by AVALANCHE in the horse's below-decks stall. The horse is now owned by the deceased's American son-in-law, George Chester (played by Alan Dinehart). Chan also finds out that an anonymous note has threatened the horse's life if Chester should allow it to run in any American races.

Of note, is that the initial scene in the film has nothing to do with the Horse Racing, per se, but rather has Chan in his Honolulu office (above) teaching a class on how to interpret blood stains, and what they mean, by virtue of their shape and design. This then is the very same technique that Chan uses when he goes on board the ocean liner to investigate the horse-stall where Major Kent was killed. Chan proves that the blood stains were caused by Kent being bludgeoned to death, and NOT from AVALANCHE's hoofs. It was murder with a heavy piece of gear-shift (a clutch like regulator on some engine equipment) segment that produced death wounds and flesh-impressions which mimicked the blows a horse's hoofs would inflict.

In the photo above we see George Chester (Dinehart), his wife played by Gloria Roy, and the soon to be murdered Major Kent (George Irving).

The race track scenes were all filmed on location in California and add a strong authenticity to the action.

I was delighted to see the two "Chan-Affectations" carried through in this installment; to-wit: Charlie has a scene in his state-room aboard the Ocean Liner where he's got his Asian silk bath robe on :) And, of course, Oland several times can be seen touching the tips of his left fingers with his right finger tips. I love pensive mannerisms :)
And I also noticed, for the second time, (the first was in Charlie Chan in Shanghai) Chan ordering a Sarsaparilla soda pop when everyone else is drinking alcohol. Sadly ironic that Oland's Chan character is almost a teetotaler while in his real-life, booze caused his fall from Fox and his early death.

Because Chan proved Kent's death WAS murder, he and Number One Son (Keye Luke) board the cruise ship and sail from Hawaii with all the suspects back to Los Angeles. In the picture above we see Chan, Alan Dinehart (Chester) and the "sketchy" trainer Bagley (Gavin Muir) in the middle of the photo.

I sound like a broken record but I can't help emphasizing the chemistry and professionalism (in their superb acting scenes together) between Chan/Oland and Number One Son Keye Luke (above). Keye Luke again shines in this movie with his physcial action scenes and comic relief. The scenes where he is chased by the ship's cockney Steward (played by veteran character actor John Rogers) are delightful. When Keye Luke resorts to stereotypical "talkie-talkie" pidgin English patois to convince the Steward that he is just a simpleton Chinese cleaning crew employee, it does not feel racist in the least. Keye Luke, like Chan, is the smart one, and the shtick drives home the point of the stupidity of the others who constantly under-estimate anyone not of their own race.

AVALANCHE is shown in the photo above. The final big race takes place at a fictional "Santa Juanita" race track, and entails "switched horses," automatic dart guns, crippled jockeys being allowed redemption, Gambling-Ring Mobsters, and Keye Luke disguised again as a "coolie" laundry man who sets a truck ablaze with fireworks so as to allow "Pop" (Chan) to get into the stables before the big race is run. There are also two great scenes involving fisticuffs Chan-style. After Charlie and Number One Son are kidnapped and taken to the lair of the Gambling Ring, Chan asks the smoking gangster guard if he too can roll a cigarette. While rolling the fag, Chan takes careful aim and blows the tobacco and stems straight into the eyeballs of the unsuspecting mobster; Keye Luke finishes him off with a sharply swung wine bottle on the noggin. There's also a great scene where Oland gets to fire out a wicked "right cross" punch, knocking a security guard unconciouss. Oland very sincerely says to the comatose body: "Very Sorry. Apologize later."

CHANISMS: I won't give you as many as last Sunday, but here a four of the better ones - -

"Man with gun...like lightning...never strike twice in same place."

"Useless talk like boat without oar...get no place."

"Foolish rooster who stick head in lawnmower...end in stew."

and

"Man who flirt with dynamite...sometime flirt with angels."

There are many more of these uber-fun sayings of Chan. You should watch the movie.

And now... for the first time... a complaint. I will (as I said) return at a much later date to pontificate and essay my thoughts on the genius and cinematic contributions of African American actor Stepin Fetchit (Lincoln Perry).

BUT.... in this movie, the writers and directors (and producers, and Fox itself no doubt) saw fit to once again include an African American actor by the name of John Henry Allen in the role of assistant stable-hand "Streamline" Jones. Every nasty, easy, cheap and racist shiboleth is pulled out. Allen is a fine actor, and yes, Warner Oland AGAIN, treats the character of "Streamline" with respect, civility, equality, and gentleness (as he treats ALL the characters.... i.e. Charlie Chan is epitomizing Dr. Martin Luther King's goal of judging a man on the quality of his character and NOT on the color of his skin), BUT... this actor is no Stepin Fetchit. Fetchit is so obviously on another solar universe plateau of conciousness in his wierd surreal depictions of "slackers" that he is above and beyond racial offense. Not so with the way the movie has Allen portray "Streamline." It was lazy, and it wasn't needed. "Streamline" has a pet monkey dressed up in a little circus suit that would still have remained funny and endearing without making Allen act like a monkey!

No, it does not ruin the movie. No, it should not cause you to boycott the film or the Chan series. But, yes, I didn't like it. The goal of the movie makers, this time, was for the audience to laugh AT black people, and NOT to laugh at the character of "Streamline." It is a distinction with a difference. But I must remember, 1936 is NOT 2010.

Of the 6 (six) Chan films I've so-far reviewed, this is the least in the series... AND STILL I really enjoyed it and recommend you watch it!