Spine Tingler! The William Castle Story (2007) *** 1/2 (out of 4)Extremely well made documentary takes a look at producer/director William Castle and features interviews with not only his daughter but also the likes of John Landis, Joe Dante, Roger Corman, Leonard Maltin, Budd Boetticher, Bob Burns, David Del Valle, John Waters and Fred Olen Ray. The documentary covers Castle's early life growing up, meeting Bela Lugosi and eventually being invited to Hollywood where he'd soon start directing countless "B" movies for Columbia. The film then follows his gimmick movies like HOUSE ON HAUNTED HILL and THE TINGLER as well as his dream project, ROSEMARY'S BABY, which would eventually be given to another filmmaker. Fans of Castle are really going to eat this thing up because there's so many great interviews and comments that one can't help but get the feeling of what it must have been like watching some of these movies in the theater when they were first released. Hearing about all the gimmicks from people who were actually there was a lot of fun and you can just tell that these people still love and have fond memories of these few moments in the theater. The documentary is pretty much fun throughout and never tries to be overly serious but instead just deals with the type of fun person Castle was. We do get to hear about his two dream projects, which ended up getting stolen by Orson Welles and given away to Polanski. It was also fun hearing how Castle pretty much gave full control to Joan Crawford who certainly used it to her advantage. The later years of Castle's life are talked about as well as the one last film he wanted to make but never got the chance. The film runs a short 82-minutes and overlooks countless films but that shouldn't keep anyone away as in the end it's just as much fun as watching one of Castle's own productions.

I gave it a 10, since everyone else seemed to like it and it would have been churlish not to. The reason I'm troubling you is to add a personal observation on Castle's work.I've seen "Homicidal" and "The Tingler" (the version with the clever colour sequence where everything except the blood is in black and white) a few times and "The House On Haunted Hill" many times.Even I am not old enough to have seen them when Castle was up to his showman tricks, thus I can appreciate them for their own merit. And while most pass him off as second-rate, schlocky, hammy, etc., I believe they do him a disservice.The end sequence of "Homicidal" is GENUINELY shocking and works today - and the premise of "The Tingler" while silly, was highly original.But "The House On Haunted Hill" was a TRIUMPH. Having used that Frank Lloyd Wright house as its exterior, the great Vincent Price and a solid cast, plus a good score and production values - when I first saw it at a packed late-night showing in the late Sixties, it produced an audience reaction I'd not seen before and have not seen since.It was the bit where the heroine is alone in the basement (if you've not seen the film, stop reading NOW) and we are waiting to hear the hero on the other side of the wall.With NO telegraphing of what is coming, the camera slowly pulls back, forcing the AUDIENCE to switch their gaze to... I'm saying no more (my "spoiler" declaration above only covers THIS movie).The point is, I believe this ploy was DELIBERATE - not accidental - and when it happened, the WHOLE AUDIENCE SCREAMED (including most of the men!) It took the audience about TEN MINUTES to calm down.Now THAT is superior film-making. A flamboyant showman he might have been, but "House" and the other two films I've mentioned were GOOD MOVIES. Castle may not have been a Hitchcock, but he was no Ed Wood, either.It's easy to concentrate on someone's quirks and forget to examine their TALENT. So I hope this documentary acknowledged that. I look forward to seeing it.

William Castle is notorious among horror fans as the B-grade director of the 1950s and 60s. His gimmicks, his cost-cutting techniques and his unique vision are legendary. It comes as no surprise, then, that someone (Jeffrey Schwarz, who's made countless documentaries) would finally take the time to devote a documentary to his greatness. Such is "Spine Tingler: The William Castle Story".I had a general understanding of who Castle was, having seen some of his films over the years. I knew nothing about her personal life, his goals and ambitions. This film really fleshed out the man and gave me a fuller appreciation for the devotion he had for the craft of film-making and his contributions to the horror genre. The movie depicts Castle as rival to Alfred Hitchcock, with Hitch being the artist who wins praise while Castle is the carnival barker who gains cult notoriety, but much less respect. He is an icon to all second-rate directors out there, which is why it's not surprising that John Waters is featured prominently in here. (Joe Dante and Stuart Gordon also have sizable roles.) His gimmicks were what drove his fame, and the documentary takes great pains to explain them, which is crucial for those who are too young to remember. The rudimentary 3-D of "13 Ghosts" (see separate review), the buzzer in the seat for "The Tingler" (see separate review), money back guarantees for "Homicidal"... watching these films now outside the theater, we can judge them for their content (which, personally, I still enjoy) but we cannot fully appreciate what audiences once felt.The climax of the film is when Castle goes from cult director to Hollywood producer. Having bought the rights to "Rosemary's Baby", he is put in a very special place for negotiating its film release. Hoping to direct, he is sidelined to producer in order to make way for new director Roman Polanski. While at first disappointed, this proves to be one of the best opportunities of his lifetime -- a hugely successful film, and a job he excels at. Who better to control the purse of wild artist Polanski than a penny-pinching Castle? This was to be his crowning achievement, though sadly the film is more often connected to Polanski than Castle.The remainder of his years are played out, and we are given personal reflections by his daughter and niece. Across the board, everyone seems to have nothing but praise for the man. Somewhere along the way, he surely upset one or two people, but you would never know it from this film. And I find that find -- this is a celebration of Bill Castle's life, not "E! True Hollywood Story". Fans of the genre would do well to pick up a copy of this work.I would personally recommend picking up the William Castle Collection, which has not only this but eight of Castle's films in it, with plenty of special features. Even this documentary comes with an audio commentary so you can hear how Schwarz was personally affected by Castle, and have Castle's daughter Terry giving a running reflection of her experiences with the different films and remakes. It's almost a whole new film.

This documentary on schlockmeister William Castle takes a few cheap shots at the naive '50s-'60s environment in which he did his most characteristic work--look at the funny, silly people with the ghost-glasses--but it's also affectionate and lively, with particularly bright commentary from John Waters, who was absolutely the target audience for such things at the time, and from Castle's daughter, who adored her dad and also is pretty perceptive about how he plied his craft. (We never find out what became of the other Castle offspring.) The movies were not very good, it makes clear, but his marketing of them was brilliant, and he appears to have been a sweet, hardworking family man. Fun people keep popping up, like "Straight Jacket"'s Diane Baker, who looks great, and Anne Helm, whom she replaced at the instigation of star Joan Crawford. Darryl Hickman all but explodes into giggles at the happy memory of working with Castle on "The Tingler," and there's enough footage to give us an idea of the level of Castle's talent--not very high, but very energetic. A pleasant look at a time when audiences were more easily pleased, and it does make you nostalgic for simpler movie-going days.