Mad Monster Party? (1967)
You may not be aware of who Rankin/Bass are, but if you have seen a Christmas television special in the last half-century, chances are you have seen one of their works. In an increasingly fragmented popular culture, those Christmas specials remain touchstones. Among those specials from animation director-producers Arthur Rankin Jr. and Jules Bass are Rudolph the Red-Nosed Reindeer (1964), Frosty the Snowman (1969), Santa Claus is Comin’ to Town (1970), The Year Without a Santa Claus (1974). Primarily known for their stop-motion animation television specials, Rankin/Bass also made theatrical films at the height of their popularity. Their third feature film, despite not being released in mind for Halloween, extended the studio’s stop-motion wizardry for the first time to all things spine-tingling and spooky.
Distributed by Embassy Pictures, Mad Monster Party? is a bizarre comedy that will delight the youngest set (frankly, I have never encountered a Rankin/Bass production that wasn’t bizarre), perhaps introducing some of them to the most famous monsters in film and literature. For Rankin/Bass’ older fans (or those not acquainted with their work), this film is one of their most ambitious projects; but it is underseen, rarely televised or programmed by independent movie theaters.
Residing in a castle on the Isle of Evil is Baron Boris von Frankenstein (voiced by Boris Karloff in his final Frankenstein-related work), who also cohabits the castle with his Monster (Alan Swift, who voices all other non-female characters in the film), the Monster’s more intelligent mate (Phyllis Diller), assistant Francesca (Gale Garnett; whose character might be the most buxom Rankin/Bass character ever), and the head zombie butler Yetch (who looks and, thanks to Swift, sounds like Peter Lorre). Baron Frankenstein has just successfully concocted a formula that can destroy any matter and, as the head of the Worldwide Organization of Monsters, wishes to announce his discovery and his retirement from the organization. A who’s who of monsters receive summons: Count Dracula, the Mummy, The Hunchback of Notre Dame, the Werewolf, the Invisible Man, Dr. Jekyll/Mr. Hyde, and “The Creature” (the Creature from the Black Lagoon). Francesca notices there is one name on the list who is not a member of the organization – a pharmacist named Felix Flanken (Swift impersonating James Stewart). There has been no mistake, assures the Baron, because Felix is his intended successor. Francesca, who wanted the Baron’s position, is upset and plots to disrupt the succession. But when Felix arrives late to the mad monster party, Francesca is surprised to find that the heir apparent is inept, asthmatic, astigmatic.
Due to the filmmakers not wishing to pay royalties, some of the monsters that appear are called alternate names, even though each one is recognizable. Occasionally, Frankenstein’s monster is referred to as “Fang” (a reference to Phyllis Diller’s comedy acts, as she referred to her husband by this name during those acts); the Bride of Frankenstein becomes “The Monster’s Mate”; the Creature from the Black Lagoon is simply the “Creature”; a well-known monster that will go unnamed here due to spoilers is “It”; et cetera.
The screenplay by Len Korobkin and Harvey Kurtzman (a writer for and the founding editor of Mad magazine) contains plenty of comedic padding. Thus, Mad Monster Party? feels like an hourlong Rankin/Bass special that cannot justify its additional half-hour. Not that I minded too much in this case, despite the redundant character introductions and overlong slapstick scenes. Felix’s cluelessness onboard the ship ferrying the Baron’s guests to the Isle of Evil is situational hilarity. The variety of characters attending Baron Frankenstein’s gathering provides plenty of opportunities for them to interact with each other as a collection of dysfunctional colleagues. Their factionalism and widespread distrust between each other result in scheming and dry one-liners (including double entendres!) that complement the signature surreal humor of Rankin/Bass productions.
In a decade where monsters were having a resurgence in American popular culture (capped off by Scooby-Doo, Where Are You!), the relationships between the monsters in Mad Monster Party? feel influenced by earlier television series like The Addams Family (1964-1966) and The Munsters (1964-1966). Other influences and references will pass over the heads of most under a certain age; behaviors such as slapping a hysterical woman to make her come to her senses is deeply rooted in outdated ‘60s behavioral norms. Mad Monster Party? is funnier if one understands that there are stand-ins for certain actors: Baron Frankenstein resembles and is voiced by Karloff, Felix sounds like and acts like a Jimmy Stewart character from every romantic comedy he starred in, Yetch is obviously Peter Lorre, and the Monster’s Mate looks like and acts like Phyllis Diller. The band that plays at Baron Frankenstein’s dinner party seems to be a parody of the Rolling Stones. Though these decisions may need explaining to younger viewers and draw out the film’s runtime, the film’s comedy is just as weird as anything Rudolph the Red-Nosed Reindeer offers. This is especially true in the final third of the film, defined by an out-of-left-field romance and an uninvited guest that wreaks havoc. These scenes give Rudolph’s “elf practice”, the reindeer’s interactions with each other, the Woodsman, and the Island of Misfit Toys a run for their money.
For almost all of Rankin/Bass’ television and film productions, the animation was entirely outsourced overseas. Such was the case for Mad Monster Party?. Using Rankin/Bass’ “Animagic” process, the film’s animation was spearheaded in Tokyo by Tadahito Mochinaga (Rudolph the Red-Nosed Reindeer, 1965’s The Daydreamer) of MOM Productions. In tandem with the character designs sketched by Jack Davis (an original artist for Mad magazine), the Japanese animators under Mochinaga meticulously moved the six-to-eight-inch puppets frame-by-frame – building open the advances pioneered by George Pal’s Puppetoons series of short films (1934-1947). The dolls’ realistic motions (or at least as realistic as such motion can be) were accomplished by using live actors standing nearby as reference. Mouth movements during dialogue was expressed using fine Japanese paper pasted for one frame and removed for the next. Each doll cost about $5,000 (just over $40,000 in 2020’s USD) to make and the animation itself was time-consuming.The production design for Mad Monster Party? represents some of the art direction in any stop-motion Rankin/Bass piece – especially the moody, cobweb-filled interior of the Baron’s castle.
Interspersed across Mad Monster Party? are several songs composed by Maury Laws (1964’s Return to Oz, The Year Without a Santa Claus) and lyrics by Jules Bass. Like almost all songs from Rankin/Bass pieces, the songs are not well-integrated into the story, but it is nevertheless difficult to imagine skipping any of them. The songs – though a vast majority are novelty songs – provide a bolt of energy where dialogue may have been trite. “Do the Mummy” by Little Tibia and the Fibias (reportedly real-life band Dyke and the Blazers) has absolutely zero lyrical interest along with its funk rock keyboard melody – but hey, we get the puppets to dance! “One Step Ahead” is just as repetitive, but arrives with the added benefit of Karloff speak-singing his parts (and who doesn’t want more Boris Karloff?). Phyllis Diller gets a solo number as the Monster’s Mate in “You’re Different” – a number to chastise Frankenstein’s Monster for his “roving eye[s]”.
But there are two songs by Laws and Bass in a different league than the rest. The first is the title song, “Mad Monster Party”, sung by jazz singer Ethel Ennis. On my first viewing of Mad Monster Party?, I never expected an opening tune as badass as this – replete with blaring brass, stabs of percussion, and string flourishes. It sounds like it was composed by John Barry for a James Bond movie; it makes a lyric like, “Did you sell your soul to Mephistopheles?” not feel awkward. “Mad Monster Party” is a snarling, unorthodox accompaniment to the monsters’ initial introductions over the opening credits – and the most pleasant surprise of the film. Almost as brilliant is a song for Francesca, with Gale Garnett singing the ballad “Never Was a Love Like Mine”. If only the context for that song (which I will not reveal to those who haven’t seen the film) was not so peculiar.
Upon viewing the final cut of Mad Monster Party?, executive producer and Embassy Pictures founder Joseph E. Levine expressed his disappointment in the picture and decided to limit the film’s theatrical release. The half-aborted theatrical release destined Mad Monster Party? to Rankin/Bass obscurity, even though it would be carried by select American television stations as a holiday special. The studio would remain focused on Christmas material, but would infrequently dabble in non-Yuletide projects. In 1972, Rankin/Bass directed a cel-animated television movie entitled Mad Mad Mad Monsters. The film is a “prequel of sorts” and includes many of the characters from Mad Monster Party?. To this day, Mad Monster Party? exists in the shadow of the better-known Christmas television specials. It also does not help that, since Rankin/Bass’ ultimate dissolution in 2001, the studio’s theatrical feature films have been separated from the rest of the Rankin/Bass library (pre-1974 specials are owned by Universal; specials from 1974 and after are owned by Warner Bros.). At the time of this review’s publication, Lionsgate holds the rights to Mad Monster Party?.
For a time, Rankin/Bass’ stop-motion animation films and television specials were popular in North America – their projects standing out from an animation industry beholden to cel animation perfected by Disney. Mad Monster Party? is Rankin/Bass craftsmanship (and lunacy) at a feature length, and necessary viewing for students of stop-motion animation. The film plays on the horror archetypes that audiences are now accustomed to, amid some of the most beautifully-designed sets in the studio’s history. It is an ideal Halloween viewing experience, but unfortunately it does not seem it has ever reached the audience that it deserves.
^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).
For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.
