The demented archaeologist Dr. Andrew Forbes (George Zucco) discovers a living, breathing serpent creature known to the Aztecs as Quetzalcoatl (the Killer Bird God) and accidentally kills ...
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Rosemary La Planche,
Jonathan Drake, while attending his brother's funeral, is shocked to find the head of the deceased is missing. When his brother's skull shows up later in a locked cabinet, Drake realizes an... See full summary »
Edward L. Cahn
The demented archaeologist Dr. Andrew Forbes (George Zucco) discovers a living, breathing serpent creature known to the Aztecs as Quetzalcoatl (the Killer Bird God) and accidentally kills his wife by giving her one of the beast's feathers, causing the creature to track her down and slaughter her. Now Dr. Forbes uses this twisted knowledge to extract revenge upon his enemies by placing one of the serpent's feathers on his intended victim and letting the beast loose to wreak havoc. Written by
Jeremy Lunt <email@example.com>
PRC Pictures, the cheapest of the B studios in the '30s and '40s, specialized in "horror" movies, few of which were "horrible" and most of which were barely movies. British actor George Zucco starred in many of them, and Sam Newfield--the brother of PRC president Sigmund Neufeld--directed many of them; neither Zucco nor Newfield had reason to be proud of any of them. The one thing they all had in common was shoddy production, technical ineptness and fifth-rate storytelling. This one is no different. The "story" concerns a mad doctor who has captured Quetzlcoatl, a mythical Mexican bird god of death, and uses it to kill his enemies. The bird model is laughable, with the strings used to move it clearly visible in almost every shot. Flubbed lines, pauses where actors forgot their lines for a second are all left in; in fact, there is one scene where the camera follows someone walking down a city street, and as the person walks by a plate glass store window, the reflection of the entire crew is clearly visible! Director Larry Cohen used the basic idea for his film "Q" in the 1980s, but with far better results. The fact that Cohen remade the film is astounding enough; the realization that he actually must have sat through to the end of this movie in order to do so is absolutely mind-boggling.
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