Under Kellogg’s sponsorship, the second season of The Adventures Of Superman began steering away from its adult audience. By the third season, the show was aimed almost solely at the pubescent. It was also shot in color, which made it an expensive production with less money allocated for actors or professional writers.  Oddly, it was only aired in black and white, not having its color premier for another decade. In this, Kellogg’s was ahead of its time, realizing that color, being inevitable, would assure the series a long syndication run.

%22Superman's Wife%22 Joi Lansing

With the third season,this is an entirely different series than the first two and, with few exceptions, it’s a dreadful affair. The series’ decline continued until its final, sixth season. Although officially cancelled, The Adventures Of Superman had been picked up for a seventh season with star George Reeves coming in as director (he had helmed three, late episodes in season six) and, reportedly, more money was going to be spent on better scripts. However, Reeves’ premature death put an end to a series which began high and should have bowed out on a better note. Alas, like its star, it was not afforded a happy ending.

Superman George Reeves

The cast still has charisma, but even they can’t save the worst episodes, many of which are excruciating and virtually unwatchable. Still, The Adventures of Superman, with I Love Lucy was the longest running series of the fifties and maintained its popularity (with reruns) for another three decades in syndication, which is almost remarkable given that its lead, who had presented something of a super boy scout image, had in fact been ousted as quite the colorful character, engaged in a sordid affair when he was found dead, allegedly by his own hands.

The third season opens with the godawful Through The Time Barrier (dir. Harry Gerstad) and the Daily Planet staff (all four of them) being teleported to the Stone Age via Professor Twiddle (Sterling Holloway in his last series appearance). The look on Reeves’ face (in stills below) speaks volumes.

The Talking Clue (Dir. Gerstad) is marginally better. It’s about a bank robber named Muscles McGurk and focuses primarily on Inspector Henderson. Shane enjoys the spotlight and our enjoyment factors primarily from his.



Test Tube Babies (W. Merle Connell)

We have been remiss in failing to cover the weird movie saint, W. Merle Connell (1905-1963).  Do not judge us too harshly. Since Connell didn’t have an angora fetish (like Ed Wood) and failed to live out one of his seedy plot lines by actually getting himself murdered (a la Al Adamson), there is no colorful biography to help promote him. Rather, what he did leave behind is a jaw-dropping body of work, comparable to cinema’s most memorable hacks. Many of Connell’s films are deadly dull, failing to live up to their colorful titles (The Devil’s Sleep, and Untamed Women). However, Connell managed to bring us two dreadful gems that belong in the cult movie annals, which is enough to qualify him for 366  Weird Movies beatification.

Test Tube Babies (W. Merle Connell)

Test Tube Babies (1948) was distributed by Screen Classics and produced by George Weiss (yes, that’s the same guy and same hole-in-the-wall outfit that brought us Glen Or Glenda). Cathy (Dorothy Duke in picnic dress) and George (William Thomason in white shirt and tie) wish they could stay out in the country forever. But George doesn’t make “the big money” as a junior architect.

George Weiss on set of Glen Or Glenda with Bela Lugosi

“You make more than enough to support a family,” Cathy replies, assuring him of his manhood, in idyllic harmony with chirping birds.

Test Tube Babies (W. Merle Connell) 1948

George and Cathy really want to have sex, so they get married, buy a suburban cookie-cutter house, and run through the beach with sand caressing their young lover toes. Are those dark clouds on the horizon?

Wearing her short, frilly, white nightie, Cathy serves George strawberries and cream. George is so happy that he gives Cathy a husbandly smack on the rump. The wallpaper blushes. George is worried. His buddy Frank Grover is making eyes at Cathy.

Frank is taking George to work, but Frank had too much lemonade last night. Later, when Frank and Cathy are alone, he calls her “sugar” and slips her some tongue, but Cathy won’t tell! She’ll just do a little strip tease for hubby and invite him to bed.

Test Tube Babies (W. Merle Connell) 1948

Gee, all of George and Cathy’s friends are having babies and baby showers. So what do George and Cathy do? They ain’t go no babies, so they can’t have a baby party. Cathy opts for a swinger party. Yup, we now become privy to one of those parties, where everyone drinks too much “lemonade” and starts necking and wife swappin’ (sort of). A bleached blonde shows up (?) and does a burlesque dance (?!?).  Shore ’nuff—someone gets jealous. It all ends with a catfight and some half-nekkid tramp losin’ her top while wrasslin’ on the floor (take that, Will Hays!) Cathy waxes perplexed and, just so you know,with all that going on, Connell still manages to make it all boring, which is no easy accomplishment.

Cathy is all mixed up. Everybody else has babies. Her marriage just ain’t what it should be without a baby.

“Yeah, you’re right Cathy. These parties ain’t no fun. We need a baby, NOW!”

But see, George and Cathy have been married a year now, and shestill ain’t knocked up!

“Well, something shoulda happened by now. Maybe we need to go to a—whatta ya call it?”

“A gynecologist?”

“Yeah, one of them.”

“Yeah. Forget these dumb parties. We’re gonna go see the  gynecologist!!!”

That gynecologist (Timothy Farrell, who also payed the sex-changing Doc, in Glen Or Glenda) shockingly tells Cathy to get undressed for the examination. Shortly afterward, Cathy asks:

“How does it look to you Doc?”

“I see no reason to worry about your physical condition, dear. You can bear children. I think we better look at George now.”

“It can’t be George, can it Doc? I, mean, it can’t be the man’s fault?’

George is dumbfounded.

“George,” says Doc, “it is common for someone not normal, like you, to have a normal sex reaction and still be sterile. In each drop of reproductive fluid, known as seamen, there are as many as 15 million tiny sperms capable of inducing pregnancy. Enough of them could be housed in a thimble to father the entire world ten times over, but not you, cuz’ your sperms are completely dead.”

No, Cathy, afraid to tell ya, George just can’t man up. George looks at the carpet a lot.

“I don’t want no adopted babies. I want one of my own,” cries Cathy. “What is this artificial insemination?”

“George,” says Doc, “why don’t you sit down and have a cigarette?”

George buys a whole carton. He even buys Doc a pack.

Doc takes Cathy into the back room. Shortly after, the two emerge.

“Why don’t you have a cigarette, dear,” Doc tells Cathy. Doc gives Cathy a smokey treat. Hmm. Just how artificial was this insemination? This is drama, Georgie!

Bring out the chips, dips, cigarettes (sanctioned by Doc. Thank you Doc!) and acid to find out if Cathy is gonna have a… Test Tube Baby! What does Frank have to do with any of it? What do test tube babies have to do with artificial insemination? The world may never know, but perhaps a gifted 366 reader has more insight (or acid) than I do. But, know this—George Weiss says we all need to avoid parties and start havin’ babies to make even the dourest, dullest marriage work! America has been blessed by Screen Classics for bringing family values to our homes. Hallelujah! Make America Great Again.

Continue reading “TEST TUBE BABIES (1948) & THE FLESH MERCHANT (1956)”


Simon of the Desert (Bunuel)  Criterion

“Moving pictures merely repeat what we have been told for centuries by novels and plays. Thus, a marvelous instrument for the expression of poetry and dreams (the subconscious world) is reduced to the role of simple REPEATER of stories expressed by other art forms”-Luis Bunuel.

Simon of the Desert (1965 dir.Luis Bunuel)  Silvia Pinal

Simon of the Desert (1965) was Buñuel’s final Mexican film before moving to France. His Mexican period is often considered a repository of “anti-religious” films, although a more apt description might be “anti-ecclesiastical.”  This 45-minute pilgrimage is an incomplete work (due to haphazard funding), but even in its truncated state, it is a shockingly substantial work.

Simon of the Desert (Luis Bunuel)Claudio Brook  Silvia Pinal

The ascetic fifteenth century Saint Simon Stylites (Claudio Brook) has spent his life atop a pillar in order to get closer to God. A wealthy patron has an even larger pillar built for the holy man and so, after six years, six months, and six days, Simon, reluctantly, comes down from atop his ivory tower, albeit briefly, to “move up” in the world. Detached irony abounds. As in Nazarin, Buñuel presents a religious figure as a fool, but a stubbornly determined fool to be identified with and admired, with detachment.

Continue reading “BUNUEL’S SIMON OF THE DESERT (1956)”