On this day in 1960 (in Italy), a devious doctor gained an unlikely ally with the theatrical release of My Friend, Dr. Jekyll.  Written (in part) and directed by Marino Girolami, the film starred Ugo Tognazzi, Carlo Croccolo, Raimondo Vianello, and others. 

​According to our friends at IMDB.com, here's the plot summary:

"Professor Fabius has found a way of transferring his personality to another person and he transfers his to the body of Giacinto Floria, a nice teacher in a women's college. Poor Giacinto becomes a sex maniac to the puzzlement of his girlfriend Mafalda."

-- EZ

From Google.com:

My Friend, Dr. Jekyll (1960)

• Release: August 1960 in Italy.

• Genre: Italian comedy and parody.

• Director: Marino Girolami.

• Starring: Ugo Tognazzi and Raimondo Vianello.

• The Plot: A professor uses a machine to switch his personality into a tutor at a women's school, causing chaotic, sex-crazed trouble.​​

(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters.  If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment.  If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
 
From the film’s IMDB.com page citation:
“Evy Babic, a skeptical paranormal pod-caster caring for her comatose mother, receives disturbing recordings tied to a folkloric threat, and every new file pulls her closer to fears she can no longer explain away.”
 
Folks, I’ve likely spent an unhealthy amount of time watching Undertone (2025).
 
Normally when I screen a new release (or thereabouts), I’ll watch it once, twice if I’ve a physical disc with commentary.  Occasionally, I’ll even give it another spin – depending upon my time commitments and/or whether or not I was intrigued by something specific – but, naturally, all of this revolves around my availability.  Given the fact that this has been a reasonably slow summer, I put off watching a handful of releases until they popped up on streaming: Undertone was one that caught my eye, but I never got to the theaters.  Now that it’s on HBO/MAX I gave it a whirl, and I was uncharacteristically pulled deeper and deeper into its puzzle.
 
On a casual level, one could argue that the story from writer/director Ian Tuason resembles almost anything that’s come to light from M. Night Shyamalan: once you know the ending, it’s challenging to rewatch it because (1) you know where it’s heading and (2) because you know where it ends you may interpret scenes or images or relationships wildly differently.  Now, this isn’t to suggest that Undertone has a big narrative ‘twist’ (as many dub Shyamalan’s efforts); but there’s still a dramatic change that recasts some of what came before, so much so that you’ll likely find some of it as mystifying (in mostly a good way) if reconsidering it.
 
On another level completely, I’m a serious audiophile (or a sort).   Back in my misspent youth, I had dreams of perhaps getting into professional broadcasting – did a stint working at radio station both in high school and college – mostly because I was so intrigued with how sound is used in conveying both advertising and messages.  A great deal of information can be unloaded in just about every sequence of good filmmaking; and Undertone is the kind of thing that film junkies might find themselves gravitating to again and again.  Some of what Tuason accomplishes is laudable, and yet I think there’s a good portion of whatnot piled on solely for what I’ll call ‘creative misdirection.’
 
You see, a good portion of the flick takes place during the recording of a podcast: Evy (played by Nina Kiri) and Justin (Adam DiMarco) reside on separate continents but come together electronically to produce Undertone, an exploration of various off-the-beaten-path examinations of thrillers and chillers which get forwarded to them via their audience.  While he never quite sounds as if he believes the haunts they explore, Justin plays the ‘open to the possibilities’ role mostly while Evy debunks the mysteries with a grounding in rational thinking.  They’re not exactly two sides of the same coin, but for the purposes of entertaining their listenership theirs is an affable partnership.
 
As we join the podcasters on this shared journey, Evy has taken time away from her social life to care for her mother, a comatose woman who is essentially at death’s door.  Still committed to her show and needing a bit of distraction from her somber surroundings, Evy stays awake to the wee hours of the morning in order to confer with Justin over the internet.  It’s at this point that the young man reveals that he’s been forwarded ten cryptic audio files from an anonymous member of their audience; and, together, the two plunge headfirst into a slowly darkening labyrinth which might spell their doom.
 
Essentially, Undertone functions similar to 2002’s The Ring.  In that film, investigators were titillated over a presumably haunted videotape that – once watched – would lead to the viewer’s death seven days later.  While Undertone lacks the open and obvious curse that worked as part of The Ring’s core mythology, I presume audiences here largely suspect that being lead through these increasingly desperate audio clips brings with it some dire existential consequence.  Tuason definitely delivers on that premise – yes, there is a toll to be paid for traveling were one shouldn’t have – and yet the picture can’t quite escape a feeling of nebulousness for those of us who watch closely … and, yes, perhaps we watch too closely.
 
Where the narrative seams rip is with the fact that Evy – an admitted skeptic – is never quite established as a reliable narrator.  For example, we know she’s not sleeping, and we’re treated to several instances wherein even her minor nightmares might be considered the stuff of legend.  We know that she’s presently experiencing emotional highs and lows that go hand-in-hand with providing ‘end of life’ care; and Tuason’s script even suggests that mother and daughter didn’t exactly have a textbook healthy relationship to begin with.  Added even more fuel to the mental flames is the fact that we learn the young woman is pregnant, is struggling with the idea of whether or not to keep the child and is likely enduring some hormonal challenges what with that stress on her already fragile body.
 
Was there even enough room for a spectral curse – one that just happens to involve an entity with proclivities toward unborn children – to unfurl that wouldn’t push her over the edge?
 
Therein lies the problem at Undertone’s core: Tuason never clearly spells out whether there was something truly supernatural going on here or we were only witnessing Evy’s psychological collapse?  Mind you, methinks there’s room enough for either theory to adequately describe what happens here – remember that we’re dealing with everything being cast from the broken young woman’s perspective – but I’m more inclined to believe that something ghostly went down in those closing scenes as opposed to not.  There’s no denying that Evy’s broken come the big finish; and yet I watched this thing quite a few times looking for definitive clues to whether or not she brought it on all herself or some malevolent spirit had his or her way with her psyche.
 
And, dammit, I just don’t know.  I lean one way … but I just don’t know.
 
However, I think Tuason inserted the biggest clue near the opening.  As Undertone comes to life in those moments, we hear Evy singing a popular nursery rhyme to her comatose mother.  Her voice is soft and tenuous in spots, but she musters through the tune, hoping that her mere presence is granting her dear old mom a bit of a reprieve.  (Having myself been in a similar situation with my cancer-stricken stepfather a few years back, I can certain understand the ‘undercurrent’ of these moments, and I can appreciate how delicate they came across.)  Once the title appears – Undertone – the word begins to face until only the first two letters – U and N – are left onscreen, a choice so deliberate I can’t believe it took me a few hours to finally notice.
 
The prefix ‘un’ is one of the language’s most powerful mostly because it reverts the core meaning of damn near anything it gets attached to.  ‘Happy’ because ‘unhappy’ – polar opposites, if ever there were – just as ‘employed’ becomes ‘unemployed.’  Tuason choosing to leave ‘un’ onscreen in the opening moments must mean something; but – like the rest of the picture – I’m UNcertain (when I should be certain) what exactly to make of it.  Is the message here that these moments are actually what caused Evy’s UNdoing?  Or could it be that ‘un’ is hinting that what we’re about to see isn’t faithfully what we think it is?  Has Evy already been broken, and what follows is only her tripped-out interpretation of seemingly related events?
 
Some of this is what happens when audiences are left with nothing more than their own wild speculation, and this is where Undertone fails (or, at least, doesn’t do us any favors).  At times, Justin seems to know more than he’s letting on – he definitely hears things in those original audio files that only an expert doing forensic repair could – and even his cohost expresses frustration with what appears to be a genuine set-up.  There are more arrows that point in a direction of some culpability on his part, but I’d rather leave some of that unspoiled and allow for readers and watchers to make up their mind.  What I do know is that such storytelling always leaves me a bit cold because an inability to provide clear information can be as deliberate as it is symptomatic of bad storytelling, and that’s never a good position from which to spin any yarn.  But … what really happened here?
 
Once more, I have to conclude that, dammit, I just don’t know.
 
Mildly Recommended.
 
In the interests of fairness, I’m pleased to disclose that I’m beholden to no one for my review of Undertone (2025) as I viewed this one via streaming on a platform to which I subscribe.

​-- EZ

On this day in 2017 (in the U.S.), audiences in attendance of the Oceanside International Film Festival -- held in Oceanside, California -- were treated to the theatrical premiere of American Satan.  Written (in part) and directed by Ash Avildsen, the film starred Andy Biersack, Booboo Stewart, Ben Bruce, and others. 

​According to our friends at IMDB.com, here's the plot summary:

"A young rock band, half of its members from England and half from the U.S., drops out of college and moves to the Sunset Strip to chase its dream."

For the record:
To the film's credit, American Satan earned a good deal of praise from screenings on the film festival circuit.

-- EZ
​
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​

On this day in 2024 (in the U.S.), that sterling mecca known as New York City, New York played host for the exclusive theatrical premiere of Stream.  Written (in part) and directed by Michael Leavy, the film starred Jeffrey Combs, Danielle Harris, Dee Wallace, and others. 

​According to our friends at IMDB.com, here's the plot summary:

"The Keenan family's simple weekend getaway truly turns into a vacation to die for, as four deranged killers playing a sadistic game lock down their hotel and compete for the most creative murders of all the guests."

-- EZ

Want to help SciFiHistory.Net stay afloat?:
As an Amazon associate, I earn commissions from qualifying purchases.  To help SciFiHistory.Net's bottom line, please consider clicking this link if you're interested in purchasing or renting Stream (2024) on Prime Video:

About Fathom Entertainment (from Google.com):

​Fathom Entertainment (formerly known as Fathom Events) is North America's largest specialty content distributor for movie theaters. Co-owned by major theater chains AMC, Cinemark, and Regal, it broadcasts alternative programming—such as classic movie re-releases, live opera, concerts, anime, and special-interest events—for limited engagement dates.

Readers, another shining light has gone out too soon ...

I just read the news this morning regarding the passing of singer and actress Abbe Lane.

Like so many whose faces I feature in this space under these circumstances, Lane isn't exactly one who was well known by fandom as having circled through the realms of the Fantastic.  Regardless, her role as the senior stewardess (aka in-flight attendant or whatever else we're calling them these days) aboard 1983's somewhat controversial Twilight Zone: The Movie is definitely one for the record books.  As those of you who've seen it recall, it was her job to quiet down an unruly passenger who -- if you can believe this -- insists he saw a critter or creature or gremlin on the wing of the plane at an incredible 20,000 feet.  The closing segment of the anthology film was, indeed, a highlight to an otherwise middling outing; and audiences have the late actress to thank for bringing such a nightmare to life in truly cinematic fashion.

Other forays deserving of mention for genre fans include 1960's Italian Horror/Comedy My Friend, The Jekyll from CEI Incom as well as episodes to such popular television fare as The Man From U.N.C.L.E., The Flying Nun, and the mid-1980's incarnation of Amazing Stories.

Our warmest prayers are extended to the family, friends, and fans of Ms. Lane.

May she rest in eternal peace ...

​-- EZ

Sent off to a secluded summer camp, a shy and introverted 12-year-old boy, Morgan (Kue Lawrence, SKETCH), is thrust into a living nightmare when a campfire tale about a psychotic doctor becomes real. As a mysterious figure begins stalking the camp, Morgan and his newfound friends, including a girl called Pilar (Kai Cech, DEAR SANTA), must embark on a perilous journey - one that will force them to confront their deepest fears and question the very nature of their existence.

Daniel DelPurgatorio's smart and stylish feature debut, which also stars Corbin Bernsen (THE DENTIST), delivers an atmospheric modern-day twist on the summer camp slasher movie that will keep you guessing right through to its shocking final reveal.
​
​Bonus Materials
​

• Audio commentary with director Daniel DelPurgatorio and actors Kue Lawrence and Kai Cech
• Deleted Scene
• Filming the Dream Sequence
• Two short films directed by Daniel DelPurgatorio: Other (2012, 15 mins); Body(s) (2015, 18 mins)
• Video Podcast interviews
• Storyboards
• Behind-the-scenes stills gallery
• Script Pages

​

Press Quotes

"Marshmallow is resourceful, refreshing, and worth your attention--a sneakily thought-provoking experience that's so much more than what we assume it to be."
     —Matt Donato, Daily Dead

"Marshmallow announces DelPurgatorio as a filmmaker worth watching, and Greskoviak as a skilled writer. The solid script is the foundation for a movie so efficiently produced that wise studios should take note."
     —Abby Olcese, The Pitch

"Marshmallow is a surprising gateway horror with a twist that adds some creativity and fun in familiar territory. This is a showcase not just for DelPurgatorio and Greskoviak but also for its incredibly talented cast."
     —Sarah Musnicky, InBetweenDrafts

"Refreshingly unpredictable, exhilarating, provocative and genuinely heartfelt. It's kindred spirits with another equally smart, surprising and moving sci-fi movie, Donnie Darko."
     —Avi Offer, NYC Movie Guru

"A new spin on an old classic, Marshmallow has plenty of gross-out moments and blood, alongside a cerebral and emotive coming-of-age story."
     —Kat Hughes, THN

On this day in 1960 (in America), Last Woman On Earth (aka The Last Woman On Earth) enjoyed its U.S. theatrical premiere.  Springing from a script by Robert Towne and directed by genre master Roger Corman, this SciFi feature starred Betsy Jones-Moreland, Antony Carbone, and screenwriter Towne himself (as Edward Wain). 

​According to our friends at IMDB.com, here's the plot summary:

"Ev, along with her husband, Harold, and their lawyer friend Martin, are swimming while on vacation in Puerto Rico. When they resurface, they gradually conclude that an unexplained, temporary interruption of oxygen has killed everyone on the island ... maybe even the world!"

-- EZ

From Google.com:

Last Woman on Earth is a 1960 low-budget post-apocalyptic science fiction and psychological drama directed and produced by Roger Corman. [1, 2, 3]

Plot and Premise
​

• The Incident: While vacationing and scuba diving in Puerto Rico, a wealthy businessman, his wife, and his lawyer surface to discover that a mysterious atmospheric disruption has temporarily depleted the air of oxygen, killing everyone on the surface.
• The Survivors: Because they were underwater using scuba tanks during the event, Harold Gern (Antony Carbone), his wife Evelyn (Betsy Jones-Moreland), and lawyer Martin Joyce (played by screenwriter Robert Towne under the pseudonym Edward Wain) are left alone.
• The Conflict: Stranded in an empty world, the dynamics shift into a tense, volatile love triangle as the two men compete for Evelyn's companionship and control over their survival. [7]

Production Background
​

• Double Feature: The film was originally released by Filmgroup in October 1960 as a double feature alongside Corman's famous quick-shoot classic, The Little Shop of Horrors.
• On-Location Efficiency: Corman shot the movie in Puerto Rico while already on location to film Creature from the Haunted Sea (1961) to maximize his production budget.
• Writing and Acting: Screenwriter Robert Towne (who later wrote Chinatown) had not finished the script on time, so Corman had Towne step in front of the camera as one of the lead actors to save money. [6]

Critical Reception

• Public Domain: The film is widely available in the public domain and frequently reviewed by classic B-movie enthusiasts and programs like Mystery Science Theater 3000.
• Reputation: It is generally viewed as a thin, slow-moving dialogue-driven chamber piece rather than a traditional action-heavy sci-fi disaster film, relying entirely on the interpersonal friction of its three main characters. [1, 7, 9]

​
[1] https://en.wikipedia.org/wiki/Last_Woman_on_Earth
[2] https://eofftvreview.wordpress.com/2021/09/04/last-woman-on-earth-1960/
[3] https://mst3k.fandom.com/wiki/Last_Woman_on_Earth_(film)
[4] https://www.imdb.com/title/tt0054017/
[5] https://unobtainium13.com/2019/08/10/film-review-last-woman-on-earth-dir-by-roger-corman/
[6] https://www.imdb.com/title/tt0054017/trivia/
[7] https://www.dailymotion.com/video/xa5g0ie
[8] https://publicdomainmovies.info/last-woman-earth-1960/
[9] https://www.rottentomatoes.com/m/the_last_woman_on_earth

On this day in 1955 (in Belgium), The Atomic Man (aka Timeslip) put power up on the silver screen!  Directed by Ken Hughes from a story by Charles Eric Maine, the SciFi/Thriller starred Gene Nelson, Faith Domergue, Joseph Tomelty, and others. 

​According to our friends at IMDB.com, here's the plot summary:

"An atomic scientist is found floating in a river with a bullet in his back and a radioactive halo around his body. The radioactivity has put him seven-and-a-half seconds ahead of us in time. He teams up with a reporter to stop his evil double from destroying his experiments in artificial tungsten."

Editor's Note:
​As I've found that some readers like to know these things, the script was an adaptation of the novel The Isotope Man.

-- EZ