Career Highlights: The Lady from Shanghai, The Fat Man, The Whistler
First Major Screen Credit: The Law Rides Again (1943)
Biography
New York-born William Castle was known to some as one of the movies' great schlockmeisters, but his films are also among the most beloved "B"-pictures of the late 1950s and early 1960s, and he did produce one unabashed classic, Rosemary's Baby. Starting out as an actor on stage, he got to Hollywood in the late 1930s and became a director in 1943. He made numerous low budget pictures, most notably as part of the Whistler and Crime Doctor series, but it was as an independent producer during the late 1950s that Castle made his mark. Recognizing the growing enthusiasm for shock thrillers and horror films, he devised various exploitation campaigns to go with his films--thus, a good haunted-house chiller like The House On Haunted Hill was marketed around a new process called "Emergo," which consisted of a luminous skeleton swung out over the audience during scenes involving a disembodied skeleton's appearance on screen. Other pictures, such as The Tingler, gave selected members of the audience mild electric shocks through their seats during appropriately tense sequences. Even without these "effects," however, these films were good, solid competent pictures that hold up well on television. Castle soon began infusing his own personality into the marketing of his movies, appearing in opening wrap-around scenes and trailers, a kind of poor man's Alfred Hitchcock. Homicidal, Castle's near-parody of Hitchcock's Psycho, was one of his strangest films, and bears watching on that basis alone. Later on, as his string of exploitation titles ran out, Castle left the director's chair and produced his best, and best-known movie, Rosemary's Baby, directed by Roman Polanski. He died in 1977, soon after publishing his autobiography, Step Right Up! I'm Gonna Scare the Pants Right Off America. In 1993, Universal released Matinee, a Joe Dante-directed comedy built around a producer/director (John Goodman) loosely based on William Castle. ~ Bruce Eder, All Movie Guide
William Schloss was born in New York City to a Jewish family. Schloss means "castle" in German, and Castle probably chose to translate his surname into English to avoid the discrimination often encountered by Jewish entertainers of his time. He spent most of his teenage years working on Broadway in a number of jobs ranging from set building to acting. This put him in a good stead to become a director, and he left for Hollywood at the age of 23, going on to direct his first film 6 years later. He also worked an as assistant to director Orson Welles, doing much of the second unit location work for Welles' noir classic, The Lady from Shanghai.
Castle was famous for directing films with many gimmicks which were ambitiously promoted, despite being reasonably low budget B-movies. Five of these were scripted by adventure novelist Robb White. Recently, two of his films have been remade, House on Haunted Hill in 1999, and Thirteen Ghosts in 2001 (the latter retitled Thir13en Ghosts).
He also produced, and had a brief non-speaking role in, Roman Polanski's film Rosemary's Baby (1968). Castle is the grey-haired man lurking outside the phone booth while Mia Farrow is attempting to get in touch with the obstetrician. According to the documentary featured on the film's DVD release, Castle had wanted to direct the film as well, but the studio insisted on hiring another director due to the reputation Castle had gained through his previous work. They felt that the novel deserved a better treatment than Castle was able to give it.
A documentary focusing on Castle's life, Spine Tingler! The William Castle Story, directed by Jeffrey Schwarz, had its premiere at AFI FEST 2007 in Los Angeles on November 8, 2007.[2] It won the Audience Award for Best Documentary.
Castle's gimmicks
Macabre (1958): A certificate for a $1,000 life insurance policy from Lloyd's of London was given to each customer in case he/she should die of fright during the film. Showings also had fake nurses stationed in the lobbies and hearses parked outside the theater.[3]
House on Haunted Hill (1959): Filmed in "Emergo". An inflatableglow in the dark skeleton attached to a wire floated over the audience during the final moments of some showings of the film to parallel the action on the screen when a skeleton arose from a vat of acid and pursued the villainous wife of Vincent Price.[4] The gimmick did not always instill fright; sometimes the skeleton became a target for some audience members who hurled candy boxes, soda cups or any other objects at hand at the skeleton.[5]
The Tingler (1959): Filmed in "Percepto". In the film a docile creature that lives in the spinal cord is activated by fright, and can only be destroyed by screaming. In the film's finale one of the creatures removed from the spine of a mute woman killed by it when she was unable to scream is let loose in a movie theatre. Some seats in theatres showing the Tingler were equipped with larger versions of the hand-held joy buzzers attached to the underside of the seats. When the Tingler in the film attacked the audience the buzzers were activated as a voice encouraged the real audience to "Scream - scream for your lives."[6] The effect caused more giggles than shock.[citation needed] Articles regarding this often incorrectly state the seats in the theatre were wired to give electrical jolts.
13 Ghosts (1960): Filmed in "Illusion-O". A hand held ghost viewer/remover with strips of red and blue cellophane was given out to use during certain segments of the film. By looking through either the red or blue cellophane the audience was able to either see or remove the ghosts if they were too frightening.[7] The similarity to anaglyph3-D glasses often causes this film to be listed as 3-D when in fact there are no 3-D segments in the film.[citation needed]
Homicidal (1961): This film contained a "Fright break" with a 45 second timer overlaid over the film's climax as the heroine approached a house harboring a sadistic killer. A voiceover advised the audience of the time remaining in which they could leave the theatre and receive a full refund if they were too frightened to see the remainder of the film. To ensure the more wily patrons did not simply stay for a second showing and leave during the finale Castle had different color tickets printed for each show.[8] In a trailer for the film, Castle explained the use of the Coward's Certificate and admonished the viewer to not reveal the ending of the film to friends, "or they will kill you. If they don't, I will."[9] About 1% of patrons still demanded refunds, and in response:
"William Castle simply went nuts. He came up with 'Coward's Corner,' a yellow cardboard booth, manned by a bewildered theater employee in the lobby. When the Fright Break was announced, and you found that you couldn't take it anymore, you had to leave your seat and, in front of the entire audience, follow yellow footsteps up the aisle, bathed in a yellow light. Before you reached Coward's Corner, you crossed yellow lines with the stenciled message: 'Cowards Keep Walking.' You passed a nurse (in a yellow uniform?...I wonder), who would offer a blood-pressure test. All the while a recording was blaring, "'Watch the chicken! Watch him shiver in Coward's Corner'!" As the audience howled, you had to go through one final indignity -- at Coward's Corner you were forced to sign a yellow card stating, 'I am a bona fide coward.' Very, very few were masochistic enough to endure this. The one percent refund dribbled away to a zero percent, and I'm sure that in many cities a plant had to be paid to go through this torture. No wonder theater owners balked at booking a William Castle film. It was all just too damn complicated."[10]
Mr. Sardonicus (1961): In this gothic tale set in 1880 London a baron's face is frozen into a permanent grotesque hideous smile after digging up his father's grave to retrieve a lottery ticket left in the pocket of his father's jacket. The audiences were allowed to vote in a "punishment poll" during the climax of the film - Castle himself appears on screen to explain to the audience their options. Each member of the audience was given a card with a glow in the dark thumb they could hold either up or down to decide if Mr. Sardonicus would be cured or die during the end of the film. Supposedly, no audience ever offered mercy so the alternate ending was never screened.[11]
Zotz! (1962): Each patron was given a "Magic" (gold colored plastic) coin which, of course, did absolutely nothing.[12]
13 Frightened Girls (1963): Castle launched a worldwide hunt for the prettiest girls from 13 different countries to cast in the film.[11]
Strait-Jacket (1964): Joan Crawford. Advised by his financial backers to eliminate gimmicks, Castle hired Crawford to star and sent her on a promotional tour to theatres. At the last minute, Castle had cardboard axes made and handed out to patrons.[11]
I Saw What You Did (1965): The film was initially promoted using giant plastic telephones but after a rash of prank phone calls and complaints, the telephone company refused Castle permission to use them or mention telephones. So he turned the back rows of theatres into "Shock Sections". Seat belts were installed to keep patrons from being jolted from their chairs in fright.[13]
Bug (1975): Castle advertised a million-dollar life insurance policy taken out on the film's star, "Hercules" the cockroach.[14]
Castle, William, with introduction by John Waters (1976, republished 1992). Step Right Up! I'm Gonna Scare the Pants Off America: Memoirs of a B-Movie Mogul. New York, Putnam. ISBN 0886876575 (Pharos edition 1992).
Waters, John (1983). Crackpot: The Obsessions of John Waters. New York, Macmillan Publishing Company. Chapter 2, "Whatever Happened to Showmanship?", was originally published in American Film December 1983 in a slightly different form.