Top billing goes to Ernest Walch, while Ernest Vilche receives 9th billing (only 12 receive credit). Due to the jumbled nature of this patchwork feature, it is a distinct possibility that the same actor was mistakenly billed twice under different names (but not much different). See more »
Other reviews here indicate that the pilfered film footage in this "effort" by schlockmeister Jerry Warren comes from legitimately *good* Chilean movies, but you wouldn't know it from Warrens' bungling. He manages to make this assemblage of footage pretty dull and uninteresting. It still has some appeal for people channel surfing in the wee hours of the morning, and is not without atmosphere. "Curse of the Stone Hand" only really comes to life in scenes where the legendary John Carradine, one of Warrens' repertory players (and seemingly a man who could never say no to *any* script), appears. (However, that's because of Carradines' grandiose screen presence, not because of anything Warren does.)
The first tale is an adaptation of Robert Louis Stevensons' "The Suicide Club", in which a young man, desperate to rid himself of debts, enters a club where he thinks he can gamble his way to good fortune. The second story is derived from the 1945 feature "The House is Empty", regaling us with the experience of two brothers tormented by an older sibling. Warren attempts to tie all of this together with his "stone hand" nonsense, which has something to do with a curse on the residents of a house, and removes the dialogue from his source material in favour of narration.
Even at only 68 minutes, this is a little tough to get through. In compressing / editing the footage from the two Chilean features, Warren and company rob them of their effectiveness. There's still the entertainment value from the revelations provided, in any event. If you're a Carradine fan, you may feel let down from only seeing him in the brief additional scenes. Another of Warrens' regulars, Katherine Victor, also appears here.
At the very least, seeing this exercise in dullness may motivate one to see the Chilean films in their proper context.
Four out of 10.
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