Think 1920's and 1930's stop motion animated dinosaurs and a giant ape named "Kong", and two names come to mind, Willis "Obie" Obrien and Marcel Delgado. Think 1930's and 1940's monster make-ups and Jack Pierce was the leader. While, the 1950's and 1960's seemed to be ruled by stop motion animator Ray Harryhausen, and at that same time. Across the pond, in the United Kingdom, from the late 1940's into the 1970's, the "House of Hammer's" make-up artist Philip "Phil" Leakey was the master.
Overlooked by the major American studios in the 1950's, was a man that could turn an umbrella into a blood sucking flying creature, or turn a hand puppet into a terrifying alien. His name was Paul Blaisdell and this is a look at his work in very low budgeted Science Fiction and Horror movies. That 1950's pre-teens and teenagers devoured mainly at their local Drive-in movie theater by the car load price.
Paul Blaisdell was born on July 21, 1927, in Newport, Rhode Island. Jacqueline "Jackie" Mary Boyle was born on January 24, 1930 in Avon, Massachusetts. After the Second World War, Paul used the G.I. bill to enter the "New England School of Art and Design", in Boston, Massachusetts, and met another student, his future wife, and the two married in 1952.
From their home on the Topanga Canyon pass, in the Santa Monica Mountains, running between Malibu Beach, on the South at the Pacific Ocean, to the 101 Freeway on the North, in the San Fernando Valley. Paul and his wife Jackie created the creatures of his imagination between 1955 and 1959.
James Harvey (H.) Nicholson was a publicist and campaign designer for Realart Pictures". They would acquire 1930's and 1940's features and re-release them as if they had just been made using a different title for the picture.
THE BEAST WITH A 1,000,000 EYES released June 15, 1955
It starts with Roger Corman forming a production company called "Pacemaker Productions". Corman's new company had acquired a screenplay entitled "The Unseen" by Tom Filer, who would only write one other screenplay, 1958's "Space Children". What had attracted Roger Corman to Filer's story was that his monster was never seen and that translated into a very cheaply made motion picture.
Roger Corman's director was co-producer David Kramarsky. Who had been the production manager on Roget Corman's first motion picture, 1954's "Monster from the Ocean Floor", and the associate producer on "The Fast and the Furious"!
Enter, Arkoff and Nicholson as "Executive Producers" with Roger Corman. According to Corman and others, Nicholson, the ever-thinking publicist had a way of his own to make a motion picture. He would call a staff meeting and the group would toss around title ideas until one hit with him. Hence, the change from "The Unseen" to "The Beast with a 1,000,000 Eyes".
At the staff meeting, after a title and basic story idea had been selected, if there was no screenplay already written. James H Nicholson assigned a person to turn one out within a couple of days. The number of male and female main characters were also decided upon at that initial meeting to keep production costs down. The booking agent was to start lining up theaters to show the yet unmade motion picture, basing their bookings solely on the film's title. The artist was told to design and make the posters working only off the title and basic storyline. A director was assigned to immediately cast the film, without knowing the size of each main character's role, and instructed to hold to Nicholson's shooting schedule of one week.
For this picture, Roger Corman, uncredited as co-director of all the "Interior Scenes", shot 48 pages of the screenplay in two-days.
Two obvious problems were always created at the staff meeting.
Second, the director was faced with casting roles without really knowing the characters, or being able to present a script to a possible actor to look over.
Shooting the movie:
After reading the screenplay for "The Beast with a 1,000,000 Eyes", Vice President Samuel Z. Arkoff asked where was "The Beast" of the title? Being told that it was invisible, he demanded a monster and a space ship! Corman turned to his special effects technician and for an additional $200 dollars, equal to $2,027 dollars at the time of writing this article, hired Blaisdell to create a monster and a spaceship.
On the "Official Cast and Crew Listing" for the motion picture, Paul Blaisdell's name appears in two places. He is shown under the heading of "Special Effects By", with Forest J. Ackerman listed as the "special effects assistant (uncredited)". Then, under the heading, "Additional Crew", Paul Blasidell's name appears as, "monster creator (uncredited)/monster effects (uncredited)".
The creature seen in the last reel ... was actually the slave of The Beast, which had no physical being. It used a being from another star system to pilot its ship, but that fact doesn't come across very well in the script. The creature was an automaton and he was quite capable of doing a lot more than he was allowed to do in the film. He was about eighteen inches high — built to the same scale as King Kong. Unfortunately, all of his scenes were shot in about ten minutes, with the wrong camera angles and everything. But it's just one of those things which happens on a low-budget picture
My article, "PAUL BIRCH: Roger Corman's Intergalactic Vampire" is ready to suck blood at:
On the "Official Crew Listing", Paul Blaisdell is the only name shown under the heading of "Special Effects", and his two other credits are under the heading "Costume and Wardrobe Department" as, "mutant costume (uncredited)", and under "Cast" as "Mutant".
Seven months after Alex Gordon's death, writer Tom Weaver in the January 2004, issue of "Fangoria", had this quote from the producer:
To be on the safe side, Nicholson wanted Roger Corman to produce and direct. But he did throw me a bone as executive producer for Golden State Productions, because I was doing an awful lot on that picture. Not only did I get virtually the entire cast, except for Paul Birch, Jonathan Haze and Paul Dubov — Corman’s regulars — ^but I also did any number of ’other things, down to being the office boy [laughs], and everything else! I figured I should get something there, so Nicholson said, “Well, you can be executive producer on Apache Woman and Day the World Ended.
Roger Corman shot the entire picture in 10 days with a final budget of $96,234.49, equal at the time of this writing to $1,018,778.53.
In a canyon in the San Fernando Valley, a group of six survivors of World War 3 gather at a house below the radiation belt and something is out there watching them. Into the group comes a man named "Radek", played by Paul Duvov, who is turning into a mutated human being craving raw meat and will be killed by whatever watches the house.
In the above lobby card is the movies star, Richard Denning as "Rick", and fifth billed Paul Birch as "Jim Maddison". This was Denning's fifth science fiction feature film and my article, "Richard Denning: His Science Fiction and Horror Films", will be found at:
Lori Nelson had just been seen in 1955's 3-D sequel to "The Creature from the Black Lagoon", "Revenge of the Creature". Nelson would be part of the cast of the 2005 Comedy Horror film, "The Naked Monster", with Kenneth Tobey, Forrest J. Ackerman, John Agar, Robert Cornthwaite, Gloria Talbott, and Les Tremayne.
Two other names of interest in this picture are:
Touch Connors, the nickname came from his High School basketball days, when he was still Krekor Ohanian. In 1957 his name would change to Michael Connors, and in 1967, with the television series "Mannix", his name changed once more to Mike Connors.
Above, Touch Connors as "Tony Lamont" is talking to Paul Birch as Adele Jergens as "Ruby", the "B" actress was always portraying "Tough Dames", and Lori Nelson as "Louise Maddison" looks on.
Raymond Hatton as "Pete, below, was a solid "B" cowboy sidekick for Buck Jones, Tim McCoy, and Johnny Mack Brown, and co-starred with John Wayne in some of "The Three Mesquiteers" "B" western series.
What watches the house becomes obvious to the audience, there is a picture of "Louise" and her missing fiancé. The thing that watches was once her fiancé mutated by the radiation that has contaminated the world.
In another article in an earlier issue of "Fangoria", February 1981, writer Thomas Mark McGee interviewed co-screenplay writer Charles Griffith. According to Griffith, the original writer, Lou Rusoff's, "Day the World Ended", screenplay:
was incomprehensible which was strange because he was quite meticulous. Lou's brother was dying at the time which most likely had something to do with it." Griffith said he "wrote streams of dialogue. The picture was terrible.That said, "It Conquered the World", which was only a small California rural town that just happened to have a major space race development complex by it, had an interesting Venusian.
Apparently, Paul Blaisdell based his alien completely on Roger Corman's concept for the motion picture. However, when actress Beverly Garland saw it, according to Mark McGee in his 1996 book, "Faster and Furiouser: The Revised and Fattened Fable of American International Pictures", she kicked the monster over and stated:
That conquered the world?
As a result, Corman put Paul Blaisdell on a fast-forward schedule to create a more terrible monster. Written in an article of the first issue of "Space Monsters", February 1990, was that:
Paul Blaisdell did research on the planet Venus before working on the alien's design, because the screenplay had it coming from there, and:
came to the conclusion that if it would have any life — it would be vegetable. In trying to make it look as far removed from anything resembling animal-like, I whipped up a nightmarish creation resembling a pear-shaped, cucumber- like creature, with two mobile, branch- like arms.
Below, Paul Blaisdell and his assistant Bob Burns, with the Venusian.
The alien was created on a wheeled wooden frame to move about and inside was Paul. The outer skin was foam rubber, his antennas were made of latex, and his teeth carved pine. To make its eyes shine were two flashlights Blaisdell could turn on. However, on the first day of shooting the mechanical arms broke, but could still be raised. Because of the damage the pincers would not close anymore and it now required both Beverly Garland and Lee Van Cleef to fake it.
The alien was created on a wooden
frame on wheels to move about and inside was Paul. The outer skin was foam
rubber, his antennas were made of latex, and his teeth carved pine. To make its
eyes shine were two flashlights he could turn on. However, on the first day of
shooting the arms broke and could still be raised, but not close the pincers
which now required both Beverly Garland and Lee Van Cleef to fake it.
In the January 1986 issue of Fangoria", Tom Weaver also quoted Beverly Garland on her first sight of the Venusian in Bronson Canyon, as saying:
I said to Roger, “That isn't the monster! That little thing there is not the monster, is it?" He smiled back at me, "Yeah. Looks pretty good, doesn't it?" I said, “Roger! I could bop that monster over the head with my handbag!" This thing was no monster, it was a table ornament! He said, "Well, don't worry about it because we're gonna show you, and then we'll show the monster, back and forth." "Well, don't ever show us together, because if you do everybody'll know that I could step on this little creature!" Eventually I think they did do some extra work on the monster: I think they re-sprayed it so it would look a little scarier, and made it a good bit taller. When we actually filmed, they shot it in shadow, and never showed the two of us together.
Above, Beverly Garland as "Claire Anderson".
The actress is part of my
article, "Four Actresses Challenging TV's Stereotyped Women's
Beverly Garland in "Decoy", Honor Blackman in "The Avengers", Anne Francis in "Honey West" and Barbara Stanwyck in "The Big Valley". found at:
Paul Blaisdell had two film credits, the first was under the heading "Special Effects (uncredited)", the second credit was under, "Rest of the Cast Listed Alphabetically", as "The Monster (uncredited)".
Paul Blaisdell had no credit for creating the monster.
Another creation Paul Blaisdell made was a bat-like flying creature that comes out of the alien and implants two control devices in a person's neck.
Above, the already controlled Sally Fraser as "Joan Nelson", both producer Bert I. Gordon's 1958 "War of the Colossal Beast" and "Earth vs the Spider (The Spider)", presents one of the flying bats to her husband, "Dr. Paul Nelson", played by Peter Graves.
Although Peter Graves' brother James Arness had made Science Fiction film immortality as 1951's "The Thing from Another World". Peter starred in 1952's "Red Planet Mars", 1954's "Killers from Space", and after this picture would be seen in Bert I. Gordon's 1957 "Beginning of the End", but it would be replacing the forgotten Steven Hill in 1967, on the television series "Mission Impossible", that Peter Graves is known for.
Above, Lee Van Cleef as "Dr. Tom Anderson", communicates with the alien still in its Paul Blaisdell space craft, before coming to Earth.
At the films climax, it is Lee Van Cleef vs Paul Blaisdell and both the alien and scientist die.
Above, chocolate syrup comes out of the aliens eyes as they melt. Roger Corman beating Alfred Hitchcock's use of chocolate syrup for Janet Leigh's blood in 1960's "Psycho", by four-years.
So why the confusion?
IT CAN AND DID HAPPEN! Based on authentic FACTS you've been reading about!
So, what were you still reading about in 1956? That would give Jerry Zigmond a idea for the screenplay by Lou Rusoff?
In 1952, businessman and amateur hypnotist Morey Bernstein had been performing at parties hypnotic age regression! Where a volunteer is put in a trance and regresses back to their childhood and everyone gets a great laugh. In Pueblo, Colorado, housewife Virginia Tighe volunteered and Bernstein brought Virginia back to her childhood, but he asked her to go back further, believing they might get remembrances of when she was a baby. Instead of what Morey Bernstein hoped for, talking to him in a pronounced Irish accent that Virginia never had in her entire life, was an Irish woman named Bridey Murphy, claiming to be an eight-year-old girl in 1806, Cork, Ireland.
Virginia Tighe, under hypnosis, told of Murphy being the daughter of a barrister named Duncan Murphy and his wife Kathleen. At the age of 17, Bridey married barrister Sean Brian McCarthy, and through Virginia, Bridey's story continued until her death as seen and described by Tighe and her reincarnated birth when Virginia Tighe was born.
In 1954, William J. Barker, a reporter for the "Denver Post", published a series of articles as the story went Worldwide. On January 1, 1956, Morey Bernstein's book "The Search for Bridey Murphy", still in publication, was first released and on October 1, 1956, a motion picture version starring Teresa Wright, Louis Hayward, and Nancy Gates would also be released.
So, Jerry Zigmond came-up with the idea of using the Bernstein and Tighe story as the basis for one in which a woman in regressed into a revenging sea monster. The Bridey Murphy concept would be reused in two other "American International Pictures" releases, 1957's "I Was a Teenage Werewolf" starring an unknown Michael Landon and a sort of a remake of that film. As, 1958's "Blood of Dracula", originally supposed to be released as "I Was a Teenage Dracula", with Sandra Harrison in the title role.
For those of my readers who might be interested, my article, "I Was A Teenage Werewolf: 1950's Teenage Horror and Science Fiction Movies", can be read at:
In what would be the Morey Bernstein role, 1929 "Best Actor Oscar" nominee Chester Morris was "Dr. Carlo Lombardi". Morris was known for portraying gangsters and the 1940's motion picture series detective, "Boston Blackie". He also portrayed "Bob Sanger" in the original 1936 western, "The Three Godfathers", a role that John Wayne played in director John Ford's 1948 remake.
Peter Lorre was originally cast in the role of "Dr. Lombardi", but declined after finally reading the screenplay.
Portraying what would be the Virginia Tighe role was Marla English as "Andrea". Her career only consisted of 18 movies and I will mention English's last on-screen performance later.
Above, Marla English is being hypnotized by Chester Morris to regress into the title character.
Tom Conway portrayed publisher and promoter "Timothy Chappel". Conway was the older brother of actor George Sanders and had co-starred in three of producer Val Lewton's classic thrillers, 1942's "Cat People", 1943's "I Walked with a Zombie", and 1943's "The Seventh Victim". Science Fiction fans also know the actor from producer Alex Gordon's 1959, "The Atomic Submarine".
Above Tom Conway with Frieda Inescort as his wife.
Cathy Downs portrayed their daughter, "Dorothy Chappel". Downs is best remembered for portraying "Clementine Carter" in director John Ford's 1946 "My Darling Clementine". She also was in 1955's "The Phantom from 10,000 Leagues", 1957's producer Bert I. Gordon's "Amazing Colossal Man", and the 1958 remake of the classic 3-D science fiction, 1953's "Cat-Women of the Moon", entitled, "Missile to the Moon".
Lance Fuller portrayed "Dr. Ted Erickson". Fuller started out as an uncredited "Vasarian villager" in 1943's "Frankenstein Meets the Wolf Man". He is best known for portraying "Brack" in the 1955 science fiction classic, "This Island Earth".
Above, Cathy Downs and Lance Fuller.
Let's take a look at Paul Blaisdell's "She-Creature".
Above Paul and Jackie Blaisdell at their home go over the costume.
Viewed from the front are the obvious breasts that Paul incorporated on his creature to establish that it was female. The creature has scales covering the body except at the lung air breathing area, which appears to have sharp knife head like weapons to protect it.
Below, the side view makes the breasts more predominate and one has to wonder if the "Hayes Censorship Office" didn't raise a question about them? Also visible from this side view, is the dorsal fin for swimming in the water and on the head the seaweed of the She-Creature's hair.
Below, is a better look of that dorsal fin and the lobster-like hands of the creature.
Below, a better look at those hands and apparent wing-like appendages on the shoulders to help stabilize the creature while swimming.
Seen below are the very deep impressions of the creature's web-like feet, giving the audience an idea of the weight Paul Blaisdell's creation was supposed to have.
In all compared to his previous creations, "The She-Creature" is Paul Blaisdell's most complex monster and would be used in variation two more times.
The above perspective shot is misleading, because Chester Morris was 5' 9". In the end "Andrea" regains control of herself and "Dr. Lombardi" is killed by her other self.
1957 was a busy year for Paul Blaisdell.
NOT OF THIS EARTH released on February 10, 1957
The Charles B. Griffith and Mark Hanna, Roger Corman's excellent 1956 western starring Beverly Garland and John Ireland, "Gunslinger", screenplay does a pre-Tobe Hopper 1985 "Lifeforce" twist on the vampire movie. Both that Hopper movie and this Roger Corman entry are part of my article,
"Not the Same Old VAMPIRE Movies, or Get Your Dentures Away from My Jugular Vein", at:
Above, Beverly Garland as "Nurse Nadine Storey" tends to Paul Birch as "Paul Johnson", who has a rare blood disease, unware he is the vanguard of Intergalactic Vampires. According to interviewer Pat McGilligan's "Backstory 3: Interviews with Screenwriters of the 1960's", Charles B. Griffith told him:
Paul Birch was supposed to wear wraparound glasses, so you couldn't see the sides of his eyes. They stuck gaffer's tape on the sides of his glasses. You can see it if you look. In that film!
Paul Blaisdell was listed under the heading "Special Effects (uncredited)".
Somebody on the production decided that Paul Birch needed some form of alien creature to help on his dirty work and they went to Blaisdell. What he came up with, by using an umbrella as a base, was:
In his interview, Griffith illustrates the profit margin in Roger Corman's "American International Pictures" releases. The above double bill made a profit of 400 percent during the first week alone.
On February 14, 1957, in San Francisco, California, the Roger Corman produced and directed "The Undead" premiered. Of interest was that the executive producer was Walter Mirisch of the "Mirisch Brothers", who would make 1960's "The Magnificent Seven" and would co-producer with his brother and Blake Edwards 1963's "The Pink Panther" and the series of movies and animated stories that followed.
The Charles B. Griffith and Mark Hanna screenplay also used the Bridey Murphy scenario as actress Pamela Duncan's "Diana Love" is regressed to the Middle Ages as "Helene". There she must deal with a witch named "Livia" played by Allison Hayes, 1958's "Attack of the 50 Foot Woman".
"The Undead" was one of Paul Blaisdell's acting performances, he portrayed an uncredited corpse, seen below.
Tom Conway is mad scientist "Dr. Roland Gerard" who has fled to deepest Africa. There he is using the women of an African tribe in his experiments that combine native voodoo with his own biochemical formula. "Gerard" wants to create, we've heard this before, a superhuman being.
If the above costume seems familiar, that's because, to keep monster costs to almost zero, it was made from the "She-Creature" costume and gives English that Deju vu feeling I mentioned.
Above, Paul Blaisdell, or is it Marla English, killing Mary Ellen Kay as the mad scientist's wife, "Susan Gerard".
On April 24, 1957, Paul Blaisdell had an "uncredited secondary role", under the heading "Rest of the Cast Listed Alphabetically", in "Dragstrip Girl", Blaisdell was the only entry under that heading. This "American International Pictures" hot rod teen movie co-starred "B" actress Fay Spain, Steven Terrell, pre-"Beach Party" John Ashley, and pre-"The Riddler" Frank Gorshin.
In the United Kingdom the picture was retitled, "Invasion of the Hell Creatures", but the pictures working title, which fit the teen science fiction and monster craze, was "Spacemen Saturday Night".
In one sequence in which Frank Goshin's character is killed, one of the eyeball hands of a saucer-man gets cut off and Paul Blaisdell's "Technical Effects" take over.
The sheer badness of Dan Milner's From Hell It Came is mitigated ever so slightly by the efforts of Paul Blaisdell, who created the vengeful tree-creature called the Tabonga. Now, the creature itself it pretty ludicrous in its actual on-screen appearances, but given the fact that we're talking about a killer tree-stump...and a low-budget, the fact that Blaisdell was able to devise anything at all that, even for a fraction of a second, might be scary, is the one part of the movie that does work. Nothing else does...All of which leaves ridiculously campy fun as the sole reason to watch this very mildly entertaining misfire, which is funnier in the telling than the watching.
First, Dan Milner was the director, his brother Jack Milner came up with the story and co-produced the movie.
Second, Paul Blaisdell designed the "Tabonga", but Jack Milner felt his price was to high for Blaisdell to make the creature and act as it. What Jack Milner did was have "The Don Post Studios" make the costume instead. Don Post became the premier maker of Halloween masks and their most famous was one of "William Shatner" that John Carpenter used for "Michael Myers" in the original 1978 "Halloween".
THE AMAZING COLOSSAL MAN premiered in Las Vegas, Nevada, on October 4, 1957
The motion picture was produced and directed by Bert I. Gordon. For those of my readers interested in Gordon, my article, "Growing Up on a Diet of 'Mr. B.I.G.' BERT I. GORDON: Giants, Little People and Grasshoppers", can be found at:
Below Glenn Langan at "Army Lieutenant Colonel Glenn Manning" is exposed to a plutonium bomb and becomes the title character.
ATTACK OF THE PUPPET PEOPLE released some date in April 1958
Paul Blaisdell was credited under the "Art Department" heading as "special designer". The other "special designer" on "The Attack of the Puppet People" was a credited Jackie Blaisdell.
The two designed and oversaw the building of the giant sets needed for the production to make the actors appear doll size. The only large set piece, seen above, that they didn't design was the telephone. It was borrowed from "AT & T" and had been used in one of the phone company's commercials.
Probably the better title based upon R. Wright Campbell's, the 1957 bio-pic about Lon Chaney, "The Man of a Thousand Faces" starring James Cagney and later, Corman's 1964 Poe tale, "The Masque of the Red Death", screenplay was the United Kingdom's "Out of Darkness".
Under the heading of "Costume and Wardrobe Department" was the single entry of Paul Blaisdell as "costume designer: beastman costume (uncredited)".
The prehistoric world of the screenplay has a taboo not to cross the river. No one, even the oldest tribe member, remembers when that taboo was placed, or why it was placed? However, that is the law and a group of teenage caveman led by 26-years-old Robert Vaughn cross the river and find the monster of legend.
Producer Herman Cohen, both original teen monster movies, 1961's "Konga", and 1967's "Berserk" starring Joan Crawford, was the originator of the story idea and co-screenplay writer.
The other screenplay writer was Abel Kandel as Kenneth Langtry. Again, both original teen monster films, and 1957's "Blood of Dracula", 1959's "Horrors of the Black Museum", along with the terrible Joan Crawford vehicle, 1970's "Trog".
Under the heading of "Additional Crew" is Paul Blaisdell's name as "monster suits (uncredited)".
$50,000 GUARANTEED! By a world-renowned insurance company to the first person who can prove "IT!" is not on Mars now!
Most of my readers know that Jerome Bixby's screenplay was one of the inspirations for Dan O'Bannon's screenplay for 1979's "Alien". The Martian gets on board the returning to Earth space ship and starts killing everyone. At the end, "It" is killed by opening the airlock door and depressurizing the space ship.
Let's talk Martian and start with this following head shot. Paul Blaisdell is the only name listed under the heading "Special Effects" as "alien suit designer/builder (uncredited)". I'm not even going to attempt to explain how the Martian costume was a "Special Effect".
EARTH VERUS THE SPIDER aka: THE SPIDER released in September 1958
There are many other science fiction movies Yates wrote the screenplay for, and they're all in my article: "George Worthing Yates: Screenplays from 1927's LIGHTNING LARISTS to 1962's KING KONG VS GODZILLA" at:
The film starred Ed Kemmer as High School science "Professor Art Kingman". Kemmer was "Commander Buzz Corey" on televisions "Space Patrol".
Above the two high school sweethearts, 25-years-old Kenney and 24-years-old Eugene Persson. The two go looking for her missing father and discover he has become the first victim of the title character and the work of Paul Blaisdell.
I could not locate any specifics about Paul Blaisdell's actual contribution to the picture, but the following stills seem to fit his uncredited job descriptions. Starting with the unique idea of a space ship that screws itself into the ground.
People get turned into skeletons a lot and somebody had to move the prop from scene to scene, if it was Paul, what a waste of talent.
This story was basically a comedy in a haunted house, after the "Hot Rod Gang" is evicted from the old club house----
In 1960, month and date unknown, Paul Blaisdell produced a five-minute short film entitled "The Cliff Monster". A couple, played by Jackie Blaisdell and Bob Burns, looking for a ideal spot for a picnic, enter a sacred land that is guarded by the title character.
Paul Blaisdell became disenchanted with the motion picture business and finished his life as a carpenter for hire.
On July 10, 1983, 55-years-old, Paul Blaisdell passed away from stomach cancer at his home in Topanga Canyon.
After Paul's death, Jackie Blaisdell became a recluse, her body was found in the house on December 2, 2006, by a neighbor. The coroner listed the date of her death as November 30, 2006.