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Tag: John Carradine

Death at Love House: An Odd ’70s Mix of Old Hollywood and the Occult

Kate Jackson and Robert Wagner in Death at Love House.

For a few fun years in the 1970s, Kate Jackson was the queen of the humdinger ending. From Killer Bees to Death Cruise and Satan’s School for Girls, she delivered morbid laughs with a winsome smile. Unlike those offerings, director E.W. Swackhamer’s Death at Love House (1976) isn’t particularly humorous—at least not intentionally—but its overwrought ending might remind you of the flaming baby scene from Susan Slade, which puts it in a league of its own.

Jackson’s Donna Gregory is the newly pregnant wife and writing partner of Joel Gregory, Jr. (Robert Wagner). Together they’re probing the history of Joel Sr., the father Junior barely knew, and his turbulent Hollywood romance with the late Lorna Love (Marianna Hill), a legendary bombshell actress. If the actors aren’t entirely convincing as Didion and Dunne knockoffs, modern audiences would have to uncomfortably concede that Wagner (who also plays Joel Sr.) is right at home in a story about the sordid circumstances surrounding the premature death of a beloved actress.

The Cat Creature Pussyfoots Around Lesbianism

Gale Sondergaard has designs on Renne Jarrett in The Cat Creature.

Where to begin with all of the metaphorical lesbian double-entendre that director Curtis Harrington cheekily supplies in The Cat Creature (1973)? And how to explain that some of it was purely unintentional, as the openly gay Harrington had no way of knowing then that Meredith Baxter was not quite the woman that networks — and viewers — imagined her to be. (And then there’s the smaller matter of her hunky love interest, David Hedison, whose lookalike daughter Alexandra became one of Hollywood’s most visible A-list lesbians in a time when there were few.)

This pulpy tale, adapted by Psycho author Robert Bloch from his own material, is thin on story and long on atmosphere. It begins with appraiser Frank Lucas (Kent Smith) recording a voice memo for the attorney that hired him to inventory a wealthy and secretive dead man’s estate. “This place gives me the shivers,” he says of the darkened mansion before descending into its cellar, which contains a priceless collection of ancient artifacts. Prying open a sarcophagus, he finds a mummy wearing a striking gold amulet with emerald eyes.

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