Ed Wood

The Post PLAN 9 FROM OUTER SPACE Ed Wood 1958-68

Written By: Mondo Justin
Mondo Film & Video Guide Editor

I first became aware of Mr. Edward D. Wood Jr back around 1994, while tripping the light fantastic on several doses of mid quality L.S.D.  My friends and I, went out to our local Grand Rapids, M.I multiplex not knowing ANYTHING about Wood or his most infamous atrocity, PLAN 9 FROM OUTER SPACE.  We were ALL simply, Tim Burton fans, and knew regardless of his latest film’s subject matter, we had to see it.

Instantly, I became engrossed in a frenzied frenetic psychedelic haze from that beautiful swooping-down crane shot starting the film as it forces it’s way down the theater’s black n white neon marquee to reveal Wood’s stage play in progress with an almost empty auditorium.

I got lost in Burton’s visual aesthetic quickly. There is something profound about experiencing black and white cinema under the influence of heavy drugs.

Was everything here in Burton’s film true?  Was Ed Wood really a cross dressing movie director with an intense love of Orson Welles that just so happened to have a fetish for angora sweaters?

Was the script by Scott Alexander and Larry Karaszewski based on accurate facts and details?  What do we think Ed Wood should think of Tim Burton’s film and Johnny Deep’s performance if he was alive today?

As the end credit’s began to roll, I sat there body, spine and soul contorted with strychnine, mind shattered into a billion pieces, floating into Z movie oblivion.  What the fuck did I just watch?   I needed to see this again, and now…

I ran into the theater lobby, purchased three tickets for the next showing and went back for more.  We saw Tim Burton’s new ED WOOD film, three times that night.  This wasn’t a movie, it was a class, a college lecture for important educational purposes.  The next day, I bought all of Wood’s films that I could find, including the now classic, PLAN 9 FROM OUTER SPACE.

Pre-internet, and by total accident, I discovered the mandatory read on Wood, Rudolph Grey’s book, NIGHTMARES IN ECSTASY: THE LIFE AND ART OF EDWARD D. WOOD JR.  I instantly picked it up, read it cover to cover, and have since done so – dozens of times since it’s initial bookshelf release.

Many Ed Wood insiders have stated that the Tim Burton film is not very accurate, however entertaining it may be..

Other Wood insiders have made declarations that Johnny Deep as Ed Wood was not really Ed Wood, but Mickey Rooney in the role of Andy Hardy.  Andy Hardy as Ed Wood?

So who was the real Ed Wood?  What was the real Ed Wood like?  Before going deeper into this lost labyrinth, let’s take another look at those final minutes from Tim Burton’s 1994 film…

These moments have never sat right with me.  They seem somewhat insulting to a certain degree.  How can a footnote sum up a multitude of years in the aftermath of one man’s life?  Is the casual viewer to assume that Wood sat in an alcohol laden haze from 1958 to his ultimate demise in 1978?  Surely, Wood worked on more projects besides ‘monster nudie films’ before drifting off into the tragic Hollywood void?

Edward D. Wood Jr, did more than just derail into ‘monster nudie films.’  Following the release of his classic, PLAN 9 FROM OUTER SPACE in 1958, Wood actually worked on a mammoth amount of projects.  Like any other filmmaker, he encountered difficult producers, budget constrictions, and poor distribution.  From 1958 onward, Wood wrote dozens of scripts, he directed several films, wrote thirty plus novels, as well as directed various television commercials and industrial training videos, prior to his death in 1978.  Here are the facts…

With PLAN 9 FROM OUTER SPACE gaining a national theatrical release with the help of Hal Roach’s Distributor’s Corporation of America, Ed Wood set out with a new business partner, Major JC Foxworthy, retired USMC. The two formed Atomic Productions together, and immediately planned to produce a total of 18 low budget films in the next three years. It was a partnership that would not last too long.

Shortly after, Wood was hired by producer/director Adrien Weiss to adapt a short story into a screenplay for production. Wood would title the screenplay, QUEEN OF THE GORILLA’S.  The film would be completed and released in 1958, under the title, ‘THE BRIDE & THE BEAST.  The film features a stunning raven haired big busted beauty named, Charlotte Austin.  Austin would go on to star in such films as, HOW TO MARRY A MILLIONARE and FRANKENSTEIN ’70.  Austin plays ‘Laura’, a new bride who settles in at her new husband’s gothic estate as they both return together from their honeymoon.  All this time, Laura, has been unaware of her husband’s interest in collecting live trophy animals.   Upon arriving to her new home, she discovers a completely full grown and rather angry male gorilla in a cage in the basement.

Haunted by an uncontrollable urge, Laura decides that she must encounter the ape.  Instantly, the ape and Laura share a special connection. This be-fuddles her new husband.  One evening, the ape becomes taken aback by the wonderful feeling of the angora material of Laura’s sweater, and becomes attracted to Laura.

Hours later, while all are asleep in the house, the ape escapes it’s caged closure and ran-sacks the mansion finally breaking down the door to Laura’s bedroom.  In a state of panic, Laura’s husband grabs a rifle, and begins to shoot at the gorilla. However, the gorilla attacks the husband and knocks him unconscious.   Very scared, Laura attempts to walk away slowly.  The ape quickly but gently grabs Laura from behind.

Suddenly, the camera angle changes, showcasing a shot of Laura’s nightgown from her knee to her waist.  To the right of the frame, the ape’s hand slowly pulls up Laura’s nightgown, revealing a fraction of skin, as she slowly bends over forward.  Take a look at the trailer for the film.

Is it possible that Ed Wood wrote the first ever suggestive beastiality scene in movie history?  The remaining hour plus of the film is a total bore and very nonsensical.  Transitioning from this moment, the film shifts to a 30′s style Tarzan in the jungle film with Laura’s husband hunting after a massive and dangerous Tiger.  This section of the film is chalk full of Hollywood stock footage, and bought materials from the 1948 film, MAN-EATER OF KUMAON.

In Rudolph Grey’s book NIGHTMARE IN ECSTASY: THE LIFE AND ART OF EDWARD D. WOOD JR. it is indicated that publicity stills shot during the film’s production show a semi nude Charlotte Austin in several scenes with the gorilla which are not in any of the multiple versions or prints of the film currently being sold in the US DVD market.  The film is currently available for purchase via VCI Entertainment with another feature from 1945 called, THE WHITE GORILLA.  This release also includes a commentary on the film with actress, Charlotte Austin.

By late April of 1958 through 1959, Wood managed to put finishing touches on another screenplay, that he would call REVENGE OF THE DEAD. The film would get made, and be released into theaters under the final moniker, NIGHT OF THE GHOULS.

The script for GHOULS would begin as something called ‘Final Curtain.’   Wood originally had created the concept for the film as a section for a purposed television anthology series he had wanted to produce, called PORTRAITS OF TERROR.  It’s been rumored that actor Bela Lugosi was reading this upcoming Wood project script, the day he died.

Prior to GHOULS in 1957, Wood penned another screenplay called, THE NIGHT THE BANSHEE CRIED.   This project remains incomplete to this very day, and according to several sources, the script could possibly be a project that Wood wanted to include as a short film for the purposed television anthology series, PORTRAITS OF TERROR.   There is no account as to what this screenplay is actually about however.

NIGHT OF THE GHOULS is a sequel of sorts to Wood’s own, BRIDE OF THE MONSTER (1954).  The film is very typical Ed Wood.  Tor Johnson returns as the very Holly-WOOD, Lobo. This time around Johnson’s character is facially dis-figured.  In Addition to Johnson, Wood cast his friend Keene Duncan as Dr. Ackula, as well as big busted va va voom vixen, Valda Hansen in the film’s lead roles.

NIGHT OF THE GHOULS also features the return of Wood’s friend and regular, Paul Marco.  Marco is Wood’s bumbling Don Knotts character.  Marco returns here as ‘Kelton The Cop,’ a true Barney Fife of B movie sci-fi schlock.   Wood iconic player, Criswell appears as well, and to great effect no less.  NIGHT OF THE GHOULS is an nonsensical tale of a faux spirit medium/con man who invites the families of the local recently departed to his Hollywood Hills mansion were he claims he can put them in touch with their loved ones..but for a price$$.

What Dr. Ackula doesn’t know is that the mansion is actually haunted, and these spirits aren’t gonna stand for his trickery and mistreatment of his unsuspecting victims.

The film begins with major budget limitations inside a police station with the only scene backdrop that of a 8×10 wanted poster of Ed Wood himself.  NIGHT OF THE GHOULS features very fun and silly dialogue, strikingly beautiful cinematography from Wood mainstay DP William S. Thompson, as well as a marketing tag-line that’s unforgettable… ‘THE DEAD OF NIGHT IS ALIVE WITH THE DEAD.”  NIGHT OF THE GHOULS, besides showcasing Wood’s intense love for all things – horror, sci-fi, and angora also introduces us to Wood’s love of human skulls. The film is littered with human skulls props throughout.  This skull obsession would continue on in the films of Wood all the way up until his death in 1978.  It’s clear that films like William Castle’s HOUSE ON HAUNTED HILL and James Whale’s THE OLD DARK HOUSE had a deep influence on Wood and the look and feel of NIGHT OF THE GHOULS.

Take a look at Duke Moore as the film’s tuxedoed paranormal investigator…..

1960-62

As the new decade began, Wood found himself starting another big film project.  An exploitation film about the ‘sex film racket.’  The film would be released in 1960 as, THE SINISTER URGE.  An early version of Wood’s screenplay for SINISTER URGE was written in 1959.  It was titled RACKET QUEEN.   B movie producer, Roy Reid paid Wood two hundred and fifty dollars to acquire the rights to produce the film.  In addition, Wood also secured the film’s director position for himself as well, being paid one thousand dollars for the four days shooting schedule.  He centered the script around some previous footage he had shot years prior.

The pizza joint segment in the finished SINISTER URGE film was shot back in 1956, prior to starting production on PLAN 9 FROM OUTER SPACE.  It was for the now abandoned Wood project called, ROCK N ROLL HELL.

THE SINISTER URGE is a wonderful, and tawdry B movie experience.  The film is a variable cornucopia of character based ‘who-can-you-trust’ back-stabbing ethics.  Beautiful models are paid high dollar to participate in an evil Hollywood Madams ‘films’.   Upon doing such, these women are quickly and brutally raped and murdered by a crazed Italian sex fiend for hire.  The local police attempt to investigate, but have no luck in solving the murders.  Everything comes to a head at the end of 65 minutes with the police zeroing in, as they end up arresting the Hollywood Madam for MURDER.  THE SINISTER URGE could be Wood’s best film. The script is engaging, IT MAKES SENSE, and the dialogue isn’t too nutzoid.   It’s difficult to believe that Wood actually made this film on his own.

Cinematographer William S. Thompson returned for ‘Urge’ and the opening sequence, albeit very brief, is visually stunning in composition and edit.  The remainder of the film is not so impressive, but as a Wood fan, forgiving that aspect in exchange for a cohesive plot line that’s fluid, and sensical, MORE than makes up for a lackluster visually photographed film.  THE SINISTER URGE is a fun and highly recommended film.  In addition, THE SINISTER URGE features a really dazzling neu-crime jazz/funk score that really sets a cool tone.

Take a look at the opening sequence of THE SINISTER URGE.

The remainder of 1960 through 1962, would be spent by Wood as a director for hire at the California company, Autonetics.  Wood would write, produce and direct several industrial training films as well as company close circuit television programs. These were short subjects that feature titles like:  SPACE CAPSULE IN FLIGHT, MINUTE MAN MISSLE PROGRAM, and SEXTANT.

Before being hired by Autonetics, Wood had to forego a lengthy and extensive FBI background check, as the material Wood would be writing and directing videos about was classified government information.

Wood pushed forward to pen two more screenplays during this time, THE SILENT NIGHT and LAST TOWN NORTH.  The screenplay for THE SILENT NIGHT,  was re-wrote years later by Wood, and re-titled, I WOKE UP EARLY THE DAY I DIED.  The script would become a Wood favorite, and actually be made into a feature length film in 1998 by director, Aris Iliopulos.   The film has been critically hailed, even though it yet remains unreleased in the USA on DVD.  Wood’s script for ‘Last Town North’ has remained a mystery to the public, as it has NOT been filmed to date.

1963

1963, would find Wood eager to get into the Hollywood game.  Working as a director for hire for Autonetics was something that gave Wood mixed feelings.  One one level, it suffocated Wood’s creative desire, but on the other hand, it provided him with a consistent weekly paycheck.  Always interested in becoming a famous writer, Wood wrote and sold his first novel in 1963, called BLACK LACE DRAG.   The book would eventually be re-titled and re-released again in 1965 as KILLER IN DRAG.

For the book, Wood chose to re-visit one of his favorite characters, Glen/Glenda.  By day, Glen is a strong male character that works as a hit man for a syndicate.  Glen becomes cross-dressing Glenda when it’s time to execute his target. Struggling not to succumb to his cross-dressing desires Glen takes to the road.  Hiding in a traveling carnival, Glen meets and falls in love with an alcoholic hooker who’s accepting of his cross-dressing. The two scheme a way to get Glen a sex change operation. The book is considered by many Wood fans to be his greatest novel.

1963, also saw Wood writing the screenplay for a film directed by Boris Petroff called, SHOTGUN WEDDING.  Although this contribution is listed in Rudolph Grey’s book, it is considered by some to be a rumored contribution only.   The poster art for SHOTGUN WEDDING indicates that the film was shot in ‘Flaming Hillbilly Color’.   This difficult to find film tells the story of a 15 year old girl named, Melanie.  She’s pregnant with her boss’s baby. She attempts to steal some money from a wedding reception and leave town.  Subplots suggest that the film also touches upon other couples involved and schemes, which all revolve around one certain wedding.

Petroff’s previous effort, 1961′s – ANATOMY OF A PSYCHO is also rumored to have been scripted by Wood as well, although to date no-one has been able to confirm Wood’s involvement in the film.   Those that have been able to experience the film have called it, ‘boring and difficult to make sense of’.   Some have stated that ANATOMY OF A PSYCHO contains numerous plot holes and is quite confusing, while at the same time it does pose some very Ed Wood esque dialogue.

By the end of 1963,  Wood had completed another screenplay that he was really eager to start production on.  It was a zany slapstick horror comedy spoof called, THE GIGANTIC SALAMI or INVASION OF THE GIGANTIC SALAMI.   Wood’s goal for this project was to use up the last of the stock footage he had shot of Bela Lugosi just before his death.  Wood wanted to make a film showcasing the LAST teaming of Lugosi and Boris Karloff.  Running himself ragged for this project, Wood was able to secure Karloff for the project, and he also pursed comedic actor, Joe E. Brown (Some Like It Hot).  Wood also had intentions of casting his new favorite actress, Valda Hansen as well.  Sadly, SALAMI fell through the slicer, when suddenly, actor Brown died unexpectedly, and the whole project was abandoned.

1964

There has been so very little written about Ed Wood’s life during 1964.  Rudolph Grey indicates is his book, NIGHTMARE ON ECSTASY: THE LIFE AND ART OF EDWARD D. WOOD JR. that Wood during this year, took a job at the local Los Angeles television station, KTTV under the employ of Sam Yorty.  Research does suggest that it’s here at KTTV, that Wood for the first time would meet his future film partner, Stephen Apostolf, in addition to working with legendary little person actor, Billy Barty.

1965

With the success of new nudie cutie films like, Russ Meyer’s THE IMMORTAL MR. TEAS, and Herschell Gordon Lewis/David F. Friedman’s THE ADVENTURES OF LUCKY PIERRE, independent film producers were beginning to see exactly how advantages the new nudie film market could be on their bank accounts.

In early 1965, Wood would team with his friend Stephen Apostolf and begin production on an original script Wood had came up with at the end of 1964..  It was an eighteen page screenplay, that Wood titled, ‘Nudie Ghoulies.’   This would eventually be re-titled, as ‘Ghouls And Dolls’, and eventually released into theater’s after principal photography was completed as ORGY OF THE DEAD (1965).

Apostolf gave Wood production manager duties on the film, alongside a Hollywood newcomer, Ted V. Mikels.   Mikels, of course would go on to become an established cult filmmaker himself, releasing just three years after ORGY OF THE DEAD in 1968, his own oddball films like, THE ASTRO ZOMBIES, THE CORPSE GRINDERS, and THE DOLL SQUAD.

Wood was also given the duties of managing and wrangling his old friend, Criswell, on the film. Often unprepared and always showing up on set late, you can clearly see Criswell in the finished film reading cue cards while on camera.  Wood put alot of effort into keeping Criswell on track during the film’s production, however unsuccessful he was.  Criswell, who’s given name was actually, Jeron Criswell was famous for becoming the first television network NBC Nostradamus.  Often appearing on the Tonight Show with Johnny Carson dozens of times, Criswell was infamous for spouting, off the wall futuristic predictions about the government, aliens and the economy, even managing to plug  his own appearance in Wood and Apostolf’s new film, ORGY OF THE DEAD.   Criswell would also write his own book of futuristic predictions.  It would be released on Jan 1st, 1068 appropriately.  It was called, “Criswell Predicts From Now To The Year 2000!”   It was dubbed and marketed as “Criswell’s Journal Into The Future.”

During the production of ORGY OF THE DEAD Wood’s drinking problem became increasing consistent as well. He would often attempt to borrow money from production crew members, including director Apostolf himself to go off and get drunk.   Upon arriving back, Wood would return unable to complete the day’s tasks, wherein he would be sent home to sober up for the day. ORGY OF THE DEAD, is a goofy tongue licking nipple foray into the nudie cutie genre. The film is about a young attractive couple whom have car trouble one dark and stormy evening out by the local cemetery.   With no help in sight, the couple is drawn into the cemetery by the sound of strange music.  Upon investigating, they discover an bizarre ritualistic ceremony which features dozens of beautiful and exotic topless women dancing to 60′s psychedelic lounge music as Criswell sits in a throne enjoying the evening’s entertainment.   Throw in the appearance of The Mummy, and The Wolfman to give the film a REAL monster feeling, and you have more than just a early ’60s nudie movie, you have an early 60′s monster nudie film.

1966-1968

1966 through 1968 would find Wood taking an in-direct break from the movie industry.   These years would also find Wood on the brink of starting several film projects only for them to fall through the cinematic sprocket holes, and be abandoned.   Wood pitched an action adventure crime television series, that almost started into production.  He worked on a script called SNAP HAPPY, about a famous civil war era photographer as well as began scripting a gangster epic about the like of Mickey Cohen.  This project was intended via Wood for his good friend, Paul Marco in the leading role.  None of these projects unfortunately panned out for Wood.

These years would also be Wood’s most prolific writing period.  He would write and release an astounding amount of his signature pulp sex and violence exploitation novels.  Wood had over twenty novels released during this time, starting in 1966 with his film adaptation novel of ORGY OF THE DEAD.  Wood had always had an stern interest in becoming a important and significant writer.  His novels were paying the bills for himself and his latest and last wife, Kathy Wood.  The money made from the novels was also contributing to Wood’s alcohol addiction as well.

Wood wrote such off the cuff titles during this era including, ‘Hell Chicks’, ‘Young, Black & Gay’, ‘Sex Shrouds, and Caskets’, ‘The Sexecutives,’ ‘Devil Girls’, ‘Raped In The Grass,’ ‘Night Time Lez,’ Watts….After’, and his most well known novel, the sequel to his 1963 book, ‘Black Lace Drag’….’Death Of A Transvestite.’

Death Of A Transvestite also known as ‘Hollywood Drag’, re-visits the cross-dressing hit man, Glen, as he agrees to turn FINK Numero Uno for the Los Angeles police and district attorney’s office in exchange for his own request of being allowed to dress in drag at his own upcoming state execution.  This novel as well as it’s predecessor are Wood’s crowning achievements.  Must reads. Pure Wood-ness.

On a side note, Wood’s 1967 novel – DEVIL GIRLS – would finally see the cinematic light-of-day when weirdo auteur Andre Perkowski adapted Wood’s story of drug-smuggling teenage lesbian girls that hang out at a sweaty hamburger joint into low budget buggery for the new chic DVD exploitation crowd.  Perkowski would do this years prior with another unrealized Wood concept, taking Wood’s writing and culling together a film from them called, THE VAMPIRE’S TOMB.

In 2007, indie book publisher Feral House would track down and re-print for sale dozens of Wood’s infamous sex and drug novels for purchase.  Shortly after, the company was contacted by the mysterious Ed Wood Estate and were promptly asked to cease and desist all book sales.

Even the Ed Wood estate itself isn’t 100% certain as to the fact whether these novels were actually completely written solely by Wood himself, as they were often released under various pen names.  As the ’60s came to an prompt close, Wood would find himself slowing down on his writing somewhat, as he was propelled back into the movie business full steam.  With hardcore adult XXX films finding their way into theater’s in major cities, Wood decided that he should capitalize on such a market immediately…