User Reviews

"The Magic Word for Fun...ZOTZ!"

Thus reads Columbia Pictures' withering one-line ad campaign for William Castle's "Zotz!" (starring Tom Poston, Jim Backus, Margaret Dumont and Cecil Kellaway), an alleged comedy that debuted to no particular acclaim in 1962. Obviously the marketing department was slap out of lipstick for this pig.

What's regrettable is that "ZOTZ!" could have been a smart and even sexy flick if Castle had stuck to the premise of Admiral Walter Karig's novel of the same name.

For those scratching their heads, Karig's 1947 story was a fanciful metaphor for the dilemma of the Age of Nuclear Weapons... What do we do with a weapon capable of annihilating any thing, any enemy, any country, and with as little effort as pointing a finger?

What do we do? Well, for starters, we learn not to point fingers and threaten our neighbors, or we might very well destroy ourselves. A simplistic observation for those of us with nearly 60 years of Cold War hindsight; but it was a revelation to Walter Karig when he wrote "Zotz!" (just two years after the bombings of Hiroshima & Nagasaki).

The plot of "Zotz!" was just as simple: Prof. Jonathan Jones (a professor of ancient Eastern languages) comes into possession of a cursed amulet; Jones deciphers the amulet's powers to cause pain, to retard motion, and to kill, and he immediately suffers the consequences of his discovery. This is where the book and the movie part company.

Karig's story went on to explore some of the dire (and truly comical) consequences of absolute power, including sexual dysfunction: Prof. Jones realizes to his horror that pointing ANY part of his body at another living creature will send the victim into spasms of debilitating pain. This is a lousy realization for him to make during an intimate encounter with a beautiful woman--that the erection in his pants is as dangerous to her as a red-hot poker!

Now, this shows comedic promise: Here is a man of unlimited power who must vigilantly remain flaccid, lest he inflict unspeakable physical agony on his love interest. That's the stuff of classic cinema!

Ah, but does William Castle even attempt what could be one of the most awkwardly comic sexual encounters ever put to film? He does not. Well, in truth, he cannot... remember, it was 1962. Sex in mainstream entertainment was barely out of the box at the time. And William Castle wasn't a terribly clever film maker.

Instead, Castle's movie offers up a series of dry, two-dimensional vignettes merely demonstrating the ZOTZ effect: Professor Jones kills a moth; Professor Jones kills a lizard; Professor Jones becomes drunk at a faculty dinner and utters the magic word ZOTZ...zany hijinx ensue.

Unlike Karig's book, the closest this film comes to making a political statement against weapons of mass destruction is when Professor Jones attempts to turn the terrible ZOTZ amulet over to the Department of Defense; but the Pentagon bigwigs are too dimwitted to hear him out.

Granted, William Castle's "Zotz!" did employ some unusual special effects for its day, including a rooftop "slow bullet" sequence: Intoning the mystic word ZOTZ, Prof. Jones freezes a .45 slug in mid-flight and steps easily out of its path; then Jones leaps from the rooftop and falls about twenty floors in slow motion, end-over-end, to the sidewalk, as normal-speed action continues in the background. I doubt that such a surreal sequence had been attempted in film before.

It's in the final moments of the film, however, that Castle finally admits to his audience that he doesn't understand or doesn't give a damn about Walter Karig's intended message. Under Castle's ham-handed direction, Ray Russel's screenplay inexplicably finds us on the steps of the Lincoln Memorial with Tom Poston mouthing patriotic platitudes--then fade to the fluttering American flag with churchbells ringing liberty across all the land. And roll credits...

What does it mean? Is this fun? It can't be humorous, because, hey, the flag, right? Almost as an afterthought, Castle attempts to turn Karig's thoughtful anti-nuke metaphor into a pathetic piece of flag-waving Cold War propaganda. And he fails even at that.

How and why Walter Karig's much more whimsical ending was omitted from the film is one of the great mysteries of William Castle lore. As Walter Karig penned it, Professor Jones--after a roller-coaster flirtation with godhood-- chooses to chuck it all and seek a thoroughly anonymous role in society... that of a pest exterminator, whistling as he works, zapping roaches and rats one "ZOTZ" at a time.

Alas, William Castle (in his questionable wisdom) chose not to end a comedy on a comedic note; even though Karig's ending would have been perfect for Tom Poston, and may have conceivably salvaged Castle's dismal, downward-spiraling romp.

This is a movie that failed--mostly because the writing was very poor and because William Castle was not very adept at comedy (this film and 13 FRIGHTENED GIRLS prove that). The idea itself, though weird and silly, could have worked--but the movie failed again and again--mostly due to a dopey script.

The film starred Tom Posten as a goofy professor of ancient languages. His niece receives an ancient medallion from her boyfriend who is on a dig. Posten is happy when he notices that he can read this medallion and finds that it's a powerful charm--allowing the user to cause pain by pointing at someone, make them slow down or even kill. When he tries to show this to the US military, they think he's some kind of nut and the only ones who believe are the evil Russians. There's more to it than this, but frankly it all seemed like a kooky and less well made version of THE ABSENTMINDED PROFESSOR.

As I said above, the script was really sub-par. Again and again, Posten's character (who was supposed to be a genius) behaved stupidly. When he was kidnapped by the Russians, though he had these great powers he forgot to use them until the end of the film. When he was trying to demonstrate his powers for his boss, he didn't make sure he had the medallion on him. These sort of brain-addled moments abounded in the film--and made it embarrassing and irritating to watch.

A good idea but a failure.

William Castle, director of low-budget horror flicks including the original "Thirteen Ghosts", takes on an adaptation of Walter Karig's novel with mixed results.

The best thing about the movie are the changes made to the original novel. While it's rare when a movie improves on its literary source material, Walter Karig's book starts out with the promise of being like a Thorne Smith fantasy romp. There's the professor who accidentally acquires a magic power (in the book, to stun or kill by pointing his finger, but instead of yelling "bang" he yells "Zotz"). There's the beautiful femme fatale who may be a nemesis sent from the gods, and who first appeared nude on his couch in a thunderstorm.

The novel then dissipates into a tedious cautionary tale about bureaucracy: the professor has a power that will ultimately lead to a bloodless victory in World War II, but even in a desperate war when the nation's self-defense is at stake he can't seem to he can't climb the chain of command in any military or civilian organization in Washington (in that way, the novel is more than relevant in the early twenty-first century). Part of his problem, too, is his own intransigence. He is so obsessed with the cult of personality, so swept away by his own powers, he refuses to outline or demonstrate his powers to anyone less than the president himself.

The movie does a good thing by sweeping away all the bureaucratic detritus that made the book so ultimately tiresome. The movie changes the professor's powers (I won't relate that change but it's more family-friendly). The movie gives us a story that might well have been adapted from Thorne Smith in the early 1960s, in a Disney sort of way.

Then there are the missteps. Tom Poston is a funny guy, graduating from the Steve Allen show with the likes of Don Knotts and Louis Nye. His movie persona, while likable, is less than dynamic. And the special effects have unfortunately dated. Still, it's a pleasant diversion. And more than "Thirteen Ghosts" it deserves a remake -- not from the book, but reworking this script.

"Zotz" is a run of the mill early 1960s melange that follows the usual pattern. Take a rising comedian (in this case, Tom Poston, best known these days for his long-running stint as handyman George on Newhart), put him in a movie with a semi-popular source novel (like ZOTZ by Thorne Smith wannabe Walter Karig), surround him by about five dependable comedy stalwarts (in this case Jim Backus, Fred Clark, Louis Nye, tough guy Mike Mazurki, and long-time-ago Marx Brothers foil Margaret Dumont). Oh, and throw in a beautiful love interest far outside the hero's league, in this case more chesty than lovely.

Then you tone down the source material for family viewing and make it current. The novel ZOTZ took place during World War II but everything in the 1960s had to be updated to the Cold War with spies from the "other side." The surprising thing is that the hero in ZOTZ the novel points his finger and says "Zotz!" to kill. This angle has not been changed, though it has been mollified into stages. Tom Poston with the ability to kill by pointing his finger and saying "Zotz" is worth watching--once. But it's basically a one-joke concept.

Another curious thing is, while the James Bond phenomenon is usually accused of starting all this spy-movie stuff, "Zotz" was actually released a few months before the first Bond movie, "Doctor No." So much for conventional wisdom.

In "Zotz", a professor in ancient languages discovers that a mysterious amulet given to his niece can confer wondrous powers. This opens up vast possibilities. Sadly, not everyone is inclined to believe him...

"Zotz" is an agreeable movie meant for a (very) young audience. It does provide some laughs and giggles, although it lacks the kind of brilliance that might turn it into a classic. It also has nice special effects, some of which eerily predate those seen in the first "Matrix" movie.

However, enjoying the movie depends on a willingness to overlook the occasional flaw. For instance, you get our learned protagonist studying and translating the inscriptions on the amulet. As a result he discovers ever more instructions. After a while you get the impression he's translating a whole scroll - there's no way all of this text could fit on the amulet, even if the language involved were admirably concise. Now I realize we're talking about a fantasy/comedy movie, but still.

I've never read the source novel involved, but I get the impression it might be a very different beast, to wit a rather sharp and sharp-witted satire for fully-grown adults.

When seeing a 60's cinema viewing challenge taking place,the first thing which came to my mind was to open up my Castle Blu-Ray set again! Curious about this looking different from the others in the collection, I decided to flip the Zotz.

View on the film:

One of two non- Horror flicks in the set, Indicator give the film the same loving treatment as The Old Dark House, (1963-also reviewed)from crisp audio and a picture transfer that retains film grain, to detailed extras on the background of the production.

Departing from a successful run of Horror shocks for a production he later called "Therapeutic",and turning down offers from Walt Disney to the rights of the novel from him, director William Castle works for the first of two times with cinematographer Gordon Avil, and surprisingly displays a gentle touch for playful light- hearted hip fantasy Comedy which would later find a groove in the era with the likes of I Dream of Jeannie on TV, thanks to Castle sliding the camera along in panning shots towards Jones new powers, which are conjured up by a jaunty score from Bernard Green.

Finding his trademark gimmick to sell the film on by reproducing the Zotz coin, Castle handles Jones superpowers with a magnetic experimental edge, via stylish manipulation of film speeds hitting hilarious sight gags, shock sound effects striking anyone Jones gives the finger to,and in a outstanding set-piece, Castle blending live action and animation for a early use of Bullet Time!

Completely trimming the religious aspect of Walter Karig's novel, (even changing the school Jones works at from St Jude's Theological Seminary, to Saracen's Valley College)Ray Russell reunites with Castle,and in his adaptation successfully scatters the spirit of Disney's live action output of the era onto the film, as Jones (played by a energetic Tom Poston,in the first of his two Castle outings) finds himself a fish out of water,leading to very funny exchanges of Jones trying to get his family to believe the power of Zotz.

Retaining some of the satirical bite of Karig's novel, Russell spins Jones adventure from a absent minded professor into a breezy Cold War Comedy Caper! Thanks to Russell bouncing Jones from arrogant US generals who ignore Jones offer to work with them,into the hands of the evil Reds,who have their eyes on the zotz.

Tom Poston got the short shrift with his two William Castle films, both lame comedies where even his subtle comic talents can't save him from the unfunny scripts. This science fiction spoof is about a rare ancient coin that shows things down, speeds them up, freezes them or kills them. He's the nerdy college professor trying to give this to the Pentagon, which results in Russian spies going after him. (Those spies are conveniently outside General Fred Clark's office posing as window washers). There's one funny scene concerning some loose mice (with Margaret Dumont, of all old biddies, present as Persephone Updike!) and such other vets as Cecil Kellaway and Jim Backus there as well. Backus's one big comic moment (his speech being slowed down to make him appear drunk) is embarrassingly unfunny. With such talent, you'd think there'd be more humor (even if the plot is beyond ridiculous) but the result is a zero. Nertz to Zotz.

What I found watching this movie was the slow motion sequences. The flying bullets (as mentioned before) sequence would not be seen again until a more modern version of this is demonstrated almost 40 years later in the movie "The Matrix", with the same wide eyed incredulous disbelieve that such a thing could be possible. The movie does have that Disney feel, the dismissed professor by the military, the less than suave behavior with the ladies, the henchmen lurking in the shadows ready to pounce at the right moment, all connected together by funny sequences of self discovery of a new power, and not quite sure on the best way to handle it, focus it, or for the best possible use of it! The rule of "Three's" applies here with comical results, to point, to shoot, or to point and shoot together. Much like our own nuclear age, to point at a country and make them queasy, to say the word "Nuclear" to make them slow down, or to do both, and destroy permanently, that city or country along with our own innocents. This is a movie for all audiences, young and old, and I highly recommend it when a copy can be found, enjoy!

Today, the name "Tom Poston" might not resonate with anyone who happens to be younger than those in the baby boom generation. Boomers and their parents will surely remember Poston, however, from his numerous appearances on '60s game shows such as "To Tell the Truth" and "What's My Line?," not to mention any number of sitcoms, including "The Bob Newhart Show" and "Newhart." His film appearances, however, were scarce and infrequent, making his comedic turn in producer/director William Castle's 1962 offering, "Zotz!," one to especially cherish. Castle, at this point, was on a genuine roll, having released, over the four previous years, no less than five wonderful, gimmicky horror films that are still much beloved five decades later: "House on Haunted Hill," "The Tingler," "13 Ghosts," "Mr. Sardonicus" and "Homicidal." "Zotz!" was something of a departure, a lighthearted fantasy played for laughs, and one that, as it turns out, is a wonderful entertainment for any age group, thanks in large part to Poston's hugely ingratiating performance.

In the film, Poston plays the part of Prof. Jonathan Jones, an expert on ancient Eastern languages at a college in the fictitious town of Saracen Valley, CA. Jones is something of the absentminded type (he has a book stand on his bicycle's handlebars so that he can read while pedaling!) as well as a health food fanatic (his everyday breakfast is a glass of sauerkraut juice with a big bowl of dry wheat germ; thus, how bizarre it is when he is later shown sprinkling monosodium glutamate on his "fillet of eggplant"!). Jones' life is turned upside down one day when he translates the inscription on his niece Cynthia's (Zeme North) coin amulet, which she'd received from her archaeologist boyfriend. The coin confers upon Jones three wonderful powers from the ancient god Zotz: the power to inflict pain with the pointing of a finger; the power to induce slow motion by uttering the word "Zotz"; and the power to kill by pointing and saying "Zotz" simultaneously. Unfortunately, these newfound abilities only cause Jones a world of problems, making his colleagues believe him to be nuts, and later resulting in his abduction by Russian agents who are desirous of his awesome powers....

Working from a script by Ray Russell and Walter Karig (Karig was the author of the 1947 "Zotz!" novel, which has been read by how many people, I wonder), Castle does a fine job of crafting still another fun piece of escapism. He is abetted by a great cast of supporting actors; old pros who play their parts straight and thus turn in marvelous comedic performances. The cast includes Cecil Kellaway (still going strong here at age 71) as the dean at Jones' school; Jim Backus (former Mr. Magoo and future "Gilligan's Island" castaway) as Jones' rival for the position of department head; former Groucho foil Margaret Dumont (here in her penultimate role) as the dean's wife; Fred Clark as a Pentagon general; Mike Mazurki, here in a nonspeaking role, as the thuggish Russian agent Igor; and an uncredited cameo by Louis Nye, who had often appeared with Poston on the old "Steve Allen Show," as a wacky "death ray" inventor. Still, this is Poston's show all the way, and he runs with it. Surprisingly, his bumbling prof is later shown to be fairly suave when charming the newly arrived language professor Virginia Fenster (Julia Meade), and even pretty cool and resourceful when opposing those Communist baddies. Castle must have appreciated Poston's contribution here, or at least enjoyed working with him, as the actor also appeared in Castle's following film, "The Old Dark House" (a 1963 retooling of the 1932 classic). "Zotz!" also features several sequences that are quite amusing, such as the party scene, in which Jones releases a slew of white mice to demonstrate his newfound powers; the sight of the Backus character being compelled to give a dinner toast in slow motion; the discovery that the copilot of the plane that is whisking Jones to Mother Russia is a dead ringer for Nikita Khrushchev; and the fact that Cynthia and her date go to a drive-in movie to watch..."Homicidal"! (A good choice, says I!) Unlike Castle's previous horror classics, "Zotz!" was essentially gimmick-free, with the exception of the complimentary, plastic Zotz coins that were given to all theater patrons. (Hmmm, I wonder if I might be able to purchase one of these on eBay....) The film should appeal to fans of such pictures as "The Absent Minded Professor" (1961) and its sequel, 1963's "Son of Flubber." The target demographic of "Zotz!" is probably 12-year-olds, but somehow, I found it charming and enjoyed it immensely. Score another one for the great William Castle!