As of August the 17th 2012, I cannot post or reply to comments anymore, because I don't have, nor do I want, a Facebook account.
Four years later Adamson added some new scenes to it and gave it a new title: "Fiend with the Electronic Brain". Needless to say, it was as bad as the previous version.
In 1971 Adamson decided to "enhance" his cinematic offspring with even more new scenes. And of course he changed the title once again, this time to: "The Man with the Synthetic Brain".
Although the cast now featured several well-known stars, the film was still a big flop.
No prob to Adamson. The next year he renamed his creation for the third time and re-re-re-released it as "Blood of Ghastly Horror". Finally the movie was a huge success. Not!
” - emertens
Those which were filmed in black&white got an unicolor tint to match the rest... ” - emertens
"The producers of Silent Night, Deadly Night wanted director Lee Harry to re-cut the first film and insert just one or two new scenes ... But screenwriters L. Harry, J. H. Earle, D. Patterson and L. Appelbaum, wrote short vignettes involving the patient's youth ... and eventually it became this sequel. But there was not enough material for a full length film, so numerous flashback sequences were used to extend the running time. When the film still ran short, a lengthy closing-credits sequence (nearly ten minutes in length, showing the full cast and crew of this film and its predecessor) was added to pad-out the film's running time even further." ” - emertens
A rather amusing Rifftrax version is also available. ” - emertens
Jerry Warren bought the rights of it, threw in a few new scenes, took out a lot of the dialogue and dubbed the rest in English. Instead of dialogue he mostly added rather aggravating narration. There's a clear difference in quality between the atmospheric original scenes and the inferior ones that were added by Warren. ” - emertens
Additional footage of course was added. ” - emertens
(The link goes to archive.org from where you can download this public domain movie.)
However the imdb gives this information on the trivia page: "The credit on the U.S. version of the film, "Battle Beyond the Sun", was given to 'Thomas Colchart', a pseudonym for then aspiring filmmaker Francis Ford Coppola. Roger Corman gave him the task of creating two monsters resembling genitalia (one male, one female) which were amusingly spliced into the film."
Some interesting information about "Battle Beyond The Sun" can be found here ” - emertens
This was an ultra low budget production. The elaborate special effects were taken (uncredited) from two big budget Soviet productions, _Mechte Navstrechu (1963)_, and _Nebo Zovyot (1960) ” - emertens
- This one has American actors (e.g. Myron Healey)
- a plot about trying to desalinize water
- 70 instead of 90 minutes long
- Varan's first appearance is different
- a different musical score ” - emertens
"As a cost-saving measure, stock footage from Ghidorah, the Three-Headed Monster, Invasion of Astro-Monster, Destroy All Monsters and other films were incorporated into the film (these films feature scenes of Godzilla, King Ghidorah and Angilas). Also the entire score of the film was composed of a re-used Akira Ifukube scores from numerous Toho Sci-Fi pieces." ” - emertens
It used footage from Teenagers from Outer Space and Plan 9 from Outer Space!!!!!!
By Jove... What can one say about that?! ” - emertens
However, Corman didn't like the resulting film, so he shelved it for a year, bringing it out for director Stephanie Rothman to revise. Rothman turned the possessed sculptor into a vampire, shot extensive new footage (using a few members of the supporting cast) and finally "Blood Bath" was created (as the co-feature for "Queen of Blood" in 1966).
When it was prepared for TV release, Corman changed the title to "Track of the Vampire" (Rothman's title of choice) and added approximately 11 minutes of additional footage (some of it outtakes from Hill's and Rothman's shoots). Further complicating matters, Corman released the English-dubbed version of "Operation Titian" directly to TV at about the same time as "Portrait In Terror".
Quote from its Wikipedia page:
” - emertens
Blood Bath had possibly the most convoluted production history of any horror movie ever made.
In 1963, while on vacation in Europe, Corman made a deal to distribute an unproduced Yugoslavian espionage thriller to be titled Operacija Ticijan/Operation: Titian. Corman bought the rights to the film for $20,000 and insisted on control over the production to ensure it could be adequately “Americanized”. To this end, Corman provided two cast members, William Campbell and Patrick Magee, who had appeared together in Corman’s The Young Racers and Francis Ford Coppola’s Corman-produced Dementia 13. In addition, Coppola was installed as the production’s script supervisor. The completed film was deemed unreleasable by Corman, although a redubbed, slightly re-edited version was eventually released directly to television under the title Portrait in Terror.
In 1964, Corman asked director Jack Hill to salvage the film. Hill filmed additional sequences in Venice, California, in order to match the original movie’s European look, and turned the former spy thriller into a horror movie about a crazed madman who kills his models and makes sculptures out of their dead bodies. Campbell was available for the reshoots and insisted on a sizeable paycheck to appear in the film, reportedly angering Corman, who nonetheless agreed to the actor’s demands. Hill added all of the beatnik-related scenes shot with Sid Haig and Jonathan Haze, and was responsible for what many fans believe is the single most effective sequence in the film, the hatchet murder of Melissa Mathes. Magee’s role was more or less retained intact in this version. However, Hill’s version of the film, retitled Blood Bath, has never been released, as Corman once again was unhappy with the results.
In 1966, Corman made another attempt to create a workable film. He hired another director, Stephanie Rothman, to change the story as she saw fit. While retaining much of Hill’s footage, she changed the plot from a story about a deranged, murderous artist to a story about a deranged, murderous artist who is also a vampire. Because Campbell refused to participate in yet another reshoot, Rothman was forced to use a completely different actor for the new murder scenes. This meant Rothman now had to provide the Campbell character with the ability to magically transform his physical shape whenever he turned into a vampire, in order to explain why the vampire-killer looked nothing like Campbell. Almost all of the scenes Rothman added, including those with Sandra Knight, were among the most derivative, and therefore the weakest, in the film. This time around, Magee’s role was almost completely excised. He appears as the jealous husband of a nightclub dancer (played by Anna Pavane) who poses for Sordi but is not murdered. He tracks Sordi to his studio and attempts to kill the artist but is pushed into the boiling wax. For reasons known only to him, it was this version of the film that most pleased Corman, and it was subsequently briefly released to theatres by American International Pictures, retaining Hill's Blood Bath title. Both Hill and Rothman were credited as co-directors. The film's co-feature was Queen of Blood, which was cobbled together by Corman and co-produced by Rothman. Hill later claimed that Rothman's changes "totally ruined" the film.
A fifth version of the film exists. Rothman’s Blood Bath ran 69 minutes, which was deemed too short for television showings. More new footage was added, including a six- minute sequence showing Linda Saunders dancing non-stop on the beach. The film was retitled Track of the Vampire, and it is this TV version that is the most commonly known of all five films today, available in a wide variety of “public domain” videotapes and DVDs.
Music for the film was cribbed from scores that composer Ronald Stein wrote for earlier Roger Corman productions, most notably The Undead and Dementia 13.
According to an unverified claim by director Doris Wishman, much of the negative for the movie was destroyed by a disgruntled lab employee. Wishman then spent the next few years re-writing and re-editing the film, mixing new and existing footage and adding a voice-over narration to the soundtrack. ” - emertens
Footage from this movie was used in:
Tarzan's Desert Mystery (1943)
Superman serial (1948 - one chapter)
Atom Man vs. Superman (1950)
Two Lost Worlds (1950)
The Lost Volcano (1950; Bomba, the Jungle Boy series)
Godzilla Raids Again (American verson)
Jungle Manhunt (1951)
Smoky Canyon (1952)
The Schaefer Century Theatre (the Yesterday's World episode)
Untamed Women (1952)
Robot Monster (1953)
The Lost Planet (1953)
King Dinosaur (1955)
Space Ship Sappy (1957)
The Incredible Petrified World (1957)
Teenage Cave Man (1958)
Three Stooges (1958)
She Demons (1958)
Valley of the Dragons (1961)
Los fantasmas burlones (1964)
Aventura al centro de la tierra (1966)
Journey to the Center of Time (1967)
La Isla De Los Dinosaurios (1967)
One Million AC/DC (1969)
Horror of the Blood Monsters (1970)
Tarzan the Mighty Man (1974)
Attack of the B Movie Monster (1989) ” - emertens
Raptor isn't a tribute to the Carnosaur films, and not even a remake. Raptor IS the "Carnosaur" films, or at least the film's dinosaur-induced death scenes, haphazardly spliced together with trace elements of the original plot and some newly shot scenes (end quote)
Will write my own little text later on. ” - emertens
The Curious Dr. Humpp is a strange little number originally titled "La Venganza del Sexo" (The Vengeance of Sex) from Argentina. It was renamed for the American audience, re-dubbed, and apparently had extra sex-scenes added to pad its run time. ” - emertens