A Seasonal Bad Film: Santa Claus Conquers the Martians

This for fans of films that are so bad that a kind of fascination and enjoyment creeps into them, like the kind of movies shown and lampooned in the American series Mystery Science Theatre 3000. The audience for this kind of film – so bad that they were, in their way, great – was growing when I was a schoolboy. I think it started as a mass movement with the publication of the Medved Brother’s book The Golden Turkey Awards, in which they reviewed a series of truly awful movies. This was followed up in the UK with interviews in Starburst magazine, where they talked about their fascination with truly dreadful SF B movies, such as the dire works of Ed Wood and other masters of the horrendously bad. These films included Robot Monster, which was made on the lavish budget of $30 a day. The robot monster of the title was a man in gorilla suit wearing a diving helmet. To make it suitably futuristic, they stuck a pair of TV aerials on it. The guy playing the monster got the job because he owned the gorilla suit. And then in 1983 Channel 4 gave us The Worst of Hollywood. Introduced by Michael Medved, this brought to the British viewing public such masterpieces as Plan 9 from Outer Space, another of Wood’s grandiose, cheap epics, They Saved Hitler’s Brain, Eegah!, The Wild Women of Wonga, one of the lesser known Godzilla films and a raunchy space epic in which sex-starved aliens land on Earth in a spaceship shaped like a giant breast. The season ended on Christmas Eve with the 1964 film Santa Claus Conquers the Martians. This was intended as a seasonal children’s favourite and the story seems to involve Martian adults trying to take over the world by producing a counterfeit Santa. But the real Santa manages to unite both Terran and Martian children against the adults and the invasion plan is thwarted. I can’t say I watched much of it when it was on. I’d come back from a party at a school friend’s and so caught just the ending. This was of Santa and the children singing ‘Hooray for Santy Claus’, and is pretty much as dire as it sounds. Medved added in his afterword to the film that its composer then went on to do the music for the Gong Show. So in memory of that glorious Christmas Eve 39 years ago, I’ve decided to inflict the trailer for this classic of terrible cinema and its theme song, both of which are on YouTube.

Here’s the trailer from Rotten Tomatoes Classic Trailers channel.

And here’s ‘Hooray for Santy Claus’ from PoppiCiullo’s channel.

Of the directors of terrible movies, Wood has particularly become a cult figure. Before release of The Room, and the career of German-born director Uwe Boll, he was generally considered Hollywood’s worst director and Plan 9 from Outer Space the worst film of all time. This flick is about evil UFO aliens invading Earth and resurrecting zombies from Earth’s graveyards. It’s extremely low budget and is known for its spectacularly cheap special effects and duff dialogue. The UFOs were paper plates doused in petrol and thrown into the air. One scene, set in the cabin of an aircraft, is very obviously shot in someone’s front room with the house door standing in for the cabin’s. The leaders of the zombies was played by Bela Lugosi, but this master of horror died half-way through filming. His place was taken by Wood’s wife’s homeopathic healer, who was something like a foot taller than Lugosi. It began with a weird, rambling introduction by Creswell, one of the celebrity astrologers of the period, who dispensed this pearl of wisdom: ‘We are all interested in the future because we will spend the rest of our lives there.’ Well, quite. You can’t argue with that. And it also boasted such immortal lines as ‘Dead! Murdered! And someone’s to blame.’ ‘Gee, I guess that’s why you’re a sergeant and I’m only a patrolman.’

In addition to Plan 9, Wood is also celebrated, or notorious, for the movie Glenn/Glenda or I Changed My Sex. Wood was a transvestite as well as decorated war hero. He was awarded a Purple Heart for his heroism in taking an enemy machine gun nest during World War II. He did so while wearing women’s satin underwear. He also liked to dress as cowboy, and would go out to restaurants either in drag or dress in a sequined cowboy costume, giving out photos of himself to the waitresses. Glenn/Glenda was intended as a sensitive portrayal of the plight of male crossdressers in contemporary America. In the hands of any other director, this would have been possible. But Wood’s direction was clunky and the dialogue predictably bad. It also has a bizarre dream sequence in which chairs and other furniture move about on their own. Bela Lugosi is also in it as God, speaking lines like ‘Dance to this. Dance to that. But beware the little green dragon sleeping on your doorstep’.

I first became aware of this piece of Wood’s oeuvre from a programme earlier in the 70s on daytime TV presented by Dennis Norden, which looked back on some of the lesser known and cheesier films of the past. It’s also a favourite of rock meister Alice Cooper. Cooper was interviewed by Muriel Grey on The Tube, the Channel 4 pop programme also in the 1980s. She asked Cooper what his favourite film was. He replied that it was Glenn/Glenda. She naturally asked him why. He replied that when he first saw it, it completely bemused him and he wondered what on Earth he was watching. This brought forth her classic reply, ‘You’re a strange boy, Alice’. Well, yes, and at one point he was outraged parents and responsible adults all over America for his antics on stage.

Wood has become such a cult figure that in the 1990s there was a biopic about him with the slogan ‘Films were his passion. Women were his inspiration. Cashmere sweaters were his weakness’. I’ve never seen it, but it does fascinate me. Just like his, and those of the other terrible directors continue to find new audiences despite, or because, of their lack of talent.

Radio 4 Tackles Bad Culture

Ho ho! According to next week’s Radio Times for 23rd – 29th May 2020, next Saturday’s The Archive will be on the subject of Bad Culture. This is the type of music, art, literature, film, TV or whatever which is so bad that it’s entertaining. The blurb about it in the Radio Times reads

Steve Punt is joined by Grace Dent, Robin Ince and Laura Snapes to analyse why seemingly bad culture can be so enjoyable, looking at the films of Michael Winner, the songs of Astley and the poetry of Danielle Steele.

The programme’s Archive on 4: So Bad It’s Good?, and it’s on Radio 4, Saturday 23rd May, at 8.00 pm.

Robin Ince, who presents The Infinite Monkey Cage on Radio 4 with Brian Cox, wrote a book a few years ago, The Bad Book Club. This was about some of his favourite terrible books, one of which was the autobiography of John Major’s half-brother, Terry Major-Ball. But people have been particularly bad films for a very long time. I think that goes back to the ’70s at least, when Michael Medved, before he morphed into a right-wing pundit, published The Golden Turkey Awards about some of the worst movies ever made. Then in the early ’80s he presented Channel 4’s The Worst of Hollywood, which screened some of the classics of Bad cinema. These included Ed Wood’s Plan 9 From Outer Space, Godzilla Versus the Smog Monster, The Wild Women of Wonga and Santa Claus Conquers the Martians.

Ed Wood was the stunningly bad director who also gave the world Glen/Glenda or I Changed My Sex, and Robot Monster. The costume for the latter creature was a gorilla suit with a diving helmet stuck on top. The guy who played it did so because he owned the gorilla suit. I think it’s also in Robot Monster that there’s a 2 minute segment of dinosaurs going on the rampage for no reason at all. It’s because Wood’s studio was right next to that of stop-motion animation master Ray Harryhausen. Harryhausen was responsible for a string of SF/monster movies, including Earth Versus the Flying Saucers, as well as the sequence in the Seventh Voyage of Sinbad where the Arab sailor fights an army of skeletons. Wood used to go round to Harryhausen and use any material that the other director had no use for after editing. That day Harryhausen had cut 200 feet of film out of a film about dinosaurs, and gave it to Wood when he asked him if there was anything he could use. Glen/Glenda is about a man struggling to come to terms with his transvestism. It’s a serious subject, which in the hands of a good director would no doubt be highly praised by critics. But this was made by Wood, so it’s abysmal. Like Plan 9 From Outer Space, it has Bela Lugosi in it. He plays God in a dream sequence in which he says ‘Dance to this, dance to that, but beware the little green dragon sleeping on your doorstep.’ This makes no sense at all. The film is, however, one of Alice Cooper’s favourites, or so he told Muriel Grey on Channel 4’s pop programme The Tube a long time ago. When she asked him ‘Why?’, he replied that it was because it made him wonder just what he had just watched because it was so weird. Her reply was classic: ‘You’re a strange boy, Alice’. Yes, and he’s made a whole career out of it. Wood was himself a transvestite with a passion for cashmere sweaters, a fact not lost to the makers of the ’90s film biography of him.

Since The Worst of Hollywood has come Mystery Science Theatre 3000. This is an SF look at Bad Films, in which the crew of an orbiting satellite a thousand watch, and make rude remarks about, terrible movies. The SF author, Jack Womack, responsible for a series of books set in a violent, dystopian future Ambient, Random Acts of Mindless Violence, Heathern and Elvissey, is also an aficionado of weird and Bad books. He supplied a list of some of his favourites in his personal collection, with his comments on them, in an interview he gave in the ’90s to the Science Fiction magazine, SF Eye. They included Bottom’s Up with the Rear Admiral: Memoirs of a Proctologist,  The Elvis Image, which is about a journalist crisscrossing the deep south in search of Elvis impersonators, and Behold! The Protong!!! by Stanislaw Szuchalski. Womack described this as ‘America’s greatest eccentric tells you why Communists are descended from the Yeti’. 

A few years an academic did a study of the type of people who deliberately went to see bad movies. He found that they tended to be of above average intelligence, and also watched transgressive cinema. You know, like the films of John Waters and some of the other cinematic horrors Jonathan Ross discussed in the ’80s in his Channel 4 series, The Incredibly Strange Film Show. They like those for the same reasons they enjoy terrible films, because both provide an experience that is outside the mainstream.

This could be a very funny, interesting programme about some truly awful cultural productions. But will it include any clips from Wood’s wretched oeuvre? 

Cartoon: Borice KKKooper – Dead Babies

Hi, and welcome to another of my cartoons expressing my outrage and disgust at the Tory party and the clown, who currently leads it and, unfortunately, our great nation. I’ve used as the basis for these drawings SF/Horror films and pop songs. This one’s based on another pop star, the Rock legend Alice Cooper. And it is to express my utter disgust at the scandalously high infant mortality rate in Britain.

Cooper became notorious in the ’70s for his weird and disturbing stage act, in which he’d behead dolls and even hang himself. He said in an interview on British television some time ago that some people tried to psychoanalyse his attack, and read a bit too much into it. It was claimed that his destruction of the dolls were a metaphorical attack on babies. Cooper denied that it was any such thing. He just hated dolls. It was, he said, possibly something to do with his sister.

But one of his songs at the time was ‘Dead Babies’, about a mother, who neglects her child so that it dies. It has the line ‘Dead babies don’t need looking after’, and includes the sound of a baby crying. It’s a really disturbing track and I’m really not surprised that Cooper drew criticism. He’s a major figure in Rock, of course, but it has also been claimed that he has also been one of the influences on Goth music through his horrific stage act and equally horrific and bleak songs.

And so it seems to me entirely appropriate to attack BoJob and his wretched party for their part in giving Britain one of the highest infant mortality rates in Europe by showing him as an Alice Cooper figure, with a hanged doll and the title of Cooper’s song. As always, I want to point out that I’m not sneering at Cooper, his music or his fans. Certainly not! But I am sneering and mocking BoJob and the Tories. And the idea of Boris as any kind of pop fan, whether Rock or Punk, as I portrayed him in my last cartoon, is pretty ridiculous. Boris definitely comes across as a classical music fan. Nothing wrong with that, but I suspect that when it came to pop music he would be very much like the judge, who had to ask who the Beatles were.

And unfortunately I can very much see our infant mortality rate getting worse under Johnson. Despite the poverty and hardship inflicted on the economy and Britain’s working people by the Coronavirus and the subsequent lockdown, he’s still pushing ahead with his programme of A and E closures. There has been a mass sacking of workers on zero hours contracts, despite claims that this wouldn’t happen. The government has promised to pay workers 80 per cent of their wages if they are unable to work because of the lockdown. But that’s only if their employer agrees. And some of them, like Tim Martin, the head of Wetherspoons, don’t seem to have done. Martin’s apparently told his staff that they can go off and seek work at McDonald’s, if they like. For those made unemployed, there’s still a five-week wait for the money after they claim Universal Credit. Boris has also promised to pay the self-employed 80 per cent of their earnings. But they’ll have to wait until June to get it. For many, that’s going to be too long. As a result, Mike’s reported that people are getting into debt for food just one week into the lockdown.

Tory cuts to the NHS are destroying people’s health, and so is the mass poverty caused by austerity and now the Coronavirus crisis. This will make child poverty and poor health worse, and probably push the infant mortality rate up further, despite the best efforts of our overworked and under-resourced doctors, nurses and other medical professionals.

I am also aware that BoJob’s partner is pregnant. I wish her and her baby all the best for a safe, healthy pregnancy and delivery, and that both baby and mother enjoy good health. But I want every mother and their children to have this. And that is one of the reasons why I’ve drawn this cartoon – because they aren’t, thanks to Boris and his vile crew.

Here’s the cartoon. I hope you enjoy it, and don’t have nightmares!

 

The Rise in Child Poverty Predicted for 2020

Vickie Cooper’s and David whyte’s book, The Violence of Austerity has a chapter on ‘Child Maltreatment and Child Mortality’ by Joanna Mack. It’s a deeply troubling subject which in itself should be an indictment of the Tories and their wretched austerity. Mack uses the horrific incidence of infant mortality in Britain to show how the Tories justify it as somehow inevitable, and that therefore it should therefore be considered an act of political violence, albeit carefully hidden. She writes

The UK infant (0 to 1 years) mortality rate, at around four deaths per 1000 births in 2014, is higher than all but two of the nineteen Euro area member states. About half of these deaths are linked to short gestation and low birth weight, both of which are highly associated with deprivation. The result is that babies born into poorer families in deprived neighbourhoods are more likely to die than children from richer families.

Allowing a pregnant woman to go without food in a cold, unheated home is to compromise her baby’s life chances. The World Health Organisation defines ‘child maltreatment’ as an action that in the context of a relationship of power results in ‘actual or potential harm to the child’s health, survival, development or dignity.’ If an individual takes such action then they may be liable to prosecution. Yet if a political system results in such actions, it is seen as an inevitable, if unfortunate, by product of economic necessity. This is not overt violence but cover violence. (p. 89).

She then goes on to describe just how hollow Tweezer’s promises to end austerity and improve people’s life expenctancy in the UK actually are.

On becoming Prime Minister in July 2016, Theresa May tried to set a new tone, making bold promises about ‘a country that works for everyone’ and fighting the ‘burning injustice’ of those born poor dying earlier than others. Yet for all the talk of an end to austerity, all of the planned benefit cuts will go ahead. Largely as a direct result of these planned cuts, over half a million more children are set to fall below the 2010/11 poverty line in 2020/21 than did in 2015/16 while the percentage of children in relative income poverty is predicted to rise from 18 per cent in 2015/16 to 26 per cent in 2020/21. And these projections could prove optimistic given the economic uncertainties surrounding Brexit and the threats to turn the UK into a low tax haven with its inevitable consequence of a further rolling back of the welfare state. There are warnings of sharp falls to come to the real-terms incomes of the poorest, particularly those with children. (p.91)

She concludes

This makes a mockery of promises to fight the injustice of poverty. To do this, there would need to be a real commitment to the transfer of income and wealth from the rich to the poor. And that would challenge the very basis of the neoliberal ideology still underpinning the government – an ideology that embeds within it the violence of child poverty.

Well, Tweezer’s gone and been replaced by Boris, who will carry on the government’s neoliberal programme. If anything, he’ll ratchet it up.

And more children will fall into poverty and die in their first year.

Remember how Tweezer swanked onto the stage at the Tory conference to the tune of ‘Killer Queen’? From this perhaps a better track for her and all the other Tories should be Alice Cooper’s ‘Dead Babies’.

Theresa May’s Tory Dancing: Alternative Songs

Tweezer’s entrance dancing at the Conservative party conference set me thinking about alternative tracks, which would be far more appropriate to the revolting spectacle. I was able to come up with quite a few. Here they are:

The Sex Pistols: Pretty Vacant.
Iggy Pop: The Idiot
Alice Cooper: Hey, Stoopid!
Poison.
Rubber City Rebels: I pierced My Brain.
Talking Heads: Psycho Killer.

For what she’s been doing to the people of this country.

The Dead Kennedys: Kill the Poor
PIL: Order of Death.

As a comment on what she was doing when she decided to spoil that Abba hit for much of the country:

The Sex Pistols again, The Great Rock and Roll Swindle.

Band Names that Are a Suitable Comment in Themselves

Primal Scream
Pop Will Eat Itself.
Venom

The Tory Audience

David Bowie: Scary Monsters

Everybody Else’s Reaction

Iron Maiden: Run to the Hills.
Twisted Sister: We’re Not Going to Take It.

I’m sure the great people of this blog have a few ideas of their own about what would make a better track for Tweezer’s dad-dancing. Let me know in the comments below!