Long-Ago Late Show That Was Chinatown Squad (1935)
Screen Gems offered a package of so-called
monster movies for TV syndication in 1957 that included most of the
Frankenstein/Draculas, among others, that Universal made during the 30's and
40's, but there weren't enough bonifide horrors to fill out a needed fifty-two
title group, result being fill-in with mysteries and mellers that held less fascination
for Shock Theatre stay-uppers. Fifty-two was the magic number needed for a
fresh late show per week, or two runs per annum in the event of
double-featuring (and many stations did run the package in pairs). Chinatown
Squad's presence in the Shock! group is likeliest basis for interest in it
today, many having sat dutifully through Universal's programmer on long-ago
tee-vee in hopes a Wolf Man or Mummy might follow. Those of us who've committed monsters to memory over past fifty
years can better, if belatedly, appreciate the charm of modest thrillers
where no issue beyond whodunit is addressed.
Chinatown Squad is by-numbers application of
formula beloved by ones(presumably most in GPS attendance) who've rifled
Universal graveyards and looking now for what's less familiar from that studio.
Is Chinatown Squad rare? Well, I sure haven't seen it turn up in decades, at least since Screen Gems' lease ran out on the Uni spook-lot and
Squad was dumped from MCA's subsequent re-grouping of the horrors. There's renewed
interest in Squad-star Lyle Talbot thanks to daughter Margaret Talbot's The Entertainer,
her bio and celebration of an actor called journeyman by most, but well beloved
for plying a lifetime trade well, and never condescending to work he was given
(Lyle lent dignity even to Ed Wood projects that used him).
This from the New York Times review "Now that the silly season is here again, we shall have to get used to pictures like "Chinatown Squad," at the Mayfair. There are sliding panels, a lady in black, $70,000 and a mystic ring. And, of course, Chinese. They are wise and enigmatic and talk like this: "Your judgment is extremely conservative but none the less accurate, I thank you, most honorable Lacey." And comedy. Hugh O'Connell, as the lackwit detective of the Chinatown Squad, causes some of the latter in his ineffectual pursuit of the man who murdered the man who misuses the funds intended for the Chinese Communists. The photoplay doesn't make much sense even after Lyle Talbot has solved the mystery. Blame the silly season." Interesting to see Valerie Hobson in a rarer outing during her Universal stint. She became quite a big star in Britain, when she returned before the war, a sort of forerunner od Deborah Kerr, and gives a sterling, vivid performance in "The Rocking Horse Winner", quite the most frightening film she eve made - werewolves and Frankenstein's monster notwithstanding. She also appeared in two of England's finest films - Leans version of "Great expectations" and "Kind hearts and Coronets". Later, she was hounded into undeserved seclusion when she unwittingly featured in Britain's greatest political sex scandal. Her greatest professional success was onstage, in the West End, when she starred in "The King and I" in 1953.
Screen Gems hadn't really run out of monsters when they threw in a few non-horror ringers in the first SHOCK THEATER package. They saved a few Universal goodies for SON OF SHOCK (BRIDE OF FRANKENSTIEN! HOUSE OF DRACULA!) a package of 20 films including many homegrown Columbia creepies as well.
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This from the New York Times review "Now that the silly season is here again, we shall have to get used to pictures like "Chinatown Squad," at the Mayfair. There are sliding panels, a lady in black, $70,000 and a mystic ring. And, of course, Chinese. They are wise and enigmatic and talk like this: "Your judgment is extremely conservative but none the less accurate, I thank you, most honorable Lacey." And comedy. Hugh O'Connell, as the lackwit detective of the Chinatown Squad, causes some of the latter in his ineffectual pursuit of the man who murdered the man who misuses the funds intended for the Chinese Communists. The photoplay doesn't make much sense even after Lyle Talbot has solved the mystery. Blame the silly season." Interesting to see Valerie Hobson in a rarer outing during her Universal stint. She became quite a big star in Britain, when she returned before the war, a sort of forerunner od Deborah Kerr, and gives a sterling, vivid performance in "The Rocking Horse Winner", quite the most frightening film she eve made - werewolves and Frankenstein's monster notwithstanding. She also
appeared in two of England's finest films - Leans version of "Great expectations" and "Kind hearts and Coronets". Later, she was hounded into undeserved seclusion when she unwittingly featured in Britain's greatest political sex scandal. Her greatest professional success was onstage, in the West End, when she starred in "The King and I" in 1953.
Screen Gems hadn't really run out of monsters when they threw in a few non-horror ringers in the first SHOCK THEATER package. They saved a few Universal goodies for SON OF SHOCK (BRIDE OF FRANKENSTIEN! HOUSE OF DRACULA!) a package of 20 films including many homegrown Columbia creepies as well.
Great plug for THE ENTERTAINER, a terrific read!
Boston's WCVB CH-5 leased a revived version of the old "Shock" package, that likewise included many non-horror films, in the early 70s.
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