Now Film Detective has given the 4K cleanup restoration to GIANT FROM THE UNKNOWN. G.F.T.U. was a low budget quickie that came and went to theatres back in 1958. It was often a co-bill with SHE-DEMONS, another Astor Picture, both directed by Richard E. Cunha (1922-2005). Cunha also directed two other Astor horror flicks that year, FRANKENSTEIN’S DAUGHTER and MISSLE TO THE MOON.
G.F.T.U. is most notable today for it being one of the low budget films that make-up genius Jack Pierce worked upon after Universal International booted him from the studio in 1946. The man who created the definitive look of Frankenstein’s creation was now working on films shot with extraordinarily little resources and less time for creative experimentation. Pierce’s output for 1958 included applying hair to 51-year-old stuntman Gil Perkins to turn him into the TEENAGE MONSTER (Howco,1958) as well as the fuller’s earth coating of 6’ 6” actor Buddy Baer for G.F.T.U.
51 year old teenage monster
The plot: A series of animal mutilations have recently happened in an area called Devil’s Crag (one of the working titles for the film were “Giant of Devil’s Crag “) and now a local known as old man Harold Banks (an inside joke, as that was the name of the picture’s special effects man, as well as visual effects on MISSLE TO THE MOON) has been found murdered.
The body is brought into town by Sheriff Parker (western star BobSteele, who had portrayed Curly in the classic OF MICE AND MEN, Hal Roach, 1939) The townspeople talk of the area being cursed, and Indian Joe (western actor Billy Dix, in a wig. Dix also had a small part as a storm trooper in SHE DEMONS.) talks about the area being a burial ground for his ancestor and talks of the curse.
Sheriff Parker goes to Geologist Wayne Brooks (Ed Kemmer ,who had starred in the ABC-TV science fiction classic SPACE PATROL from 1950-5. In 1958, he also headlined Bert I. Gordon’s THE SPIDER, AIP) who has been working in the area. Brooks is also a suspect since it seems he did not get along with the late Banks.
Brooks becomes friends with Professor Cleveland (Morris Ankrum, HOW TO MAKE A MONSTER, AIP, 1958, as well as a gruff military type in many 1950s sci fi films), an archeologist, and his daughter Janet (SallyFraser, WAR OF THE COLOSSAL BEAST, AIP,1958, as well as THE SPIDER, both for Bert I Gordon). Both had arrived when the townsfolk were discussing the murder of Banks as well.
Cleveland has been studying the history of the area to a group of Spanish Conquistadors led by Vargas (Baer). Vargas, a giant of a man, was a violent man who broke away from the main expedition and vanished with a few followers up in the Devil’s Crag some 500 years ago. Meanwhile, Brooks makes an amazing discovery about the soil in the area, wherein he finds a lizard long thought extinct preserved and alive. He theorizes that the soil induces a sort of suspended animation and preserves living creatures.
Having found an old broken cross that he believes is from Vargas’ party, they use a metal detector to search the area for other artifacts. Janet is the one who finds the location of the burial area of the lost Spaniards. A thunderstorm comes through and freshly cleared soil shows more of that preservative dirt that saved the lizard, as well as spotting a giant battle axe. They decide to retire to their camp site for the night and investigate further in the morning.
During the night, Vargas comes alive, and stumbles down to their campsite. Janet, however, has a gun with her, which she fires off, startling the giant. The man out of his time goes staggering off, only to find other victims.
The film has a lot of plot and continuity errors. We hear of animal mutilations and the murder of Banks as the film begins, but Vargas is not shown rising from the earth until 36 minutes into the 77-minute film. Who then was responsible for the killings before Vargas arises? During a climatic fight, it begins snowing but in certain shots there is no snow, etc. The joys of low budget filmmaking. The budget for the film was $54,000 for a six-day shoot, so retakes and time are not luxuries afforded to indie filmmakers. The budget was 30K on hand as well as $24K deferred. That includes renting locations, transport, feeding, housing, as well as film stock, cast and crew salaries, plus optical effects costumes and makeup.
The film has long since slipped into public domain and thus has been seen in prints on television and home video releases varying from good to very scratchy and splice ridden.
Now, FILM DETECTIVE has gotten the original camera negative and made a brand new 4 K transfer. The print is incredibly sharp, complimenting director Cunha’s photography (he did double duty on the picture).
They also have provided yellow easy to read optional subtitles, though there are a few misspellings in the extras section (the director’s name, for instance, or Grauman’s Chinese Theatre).
Other extras with this blu ray release are
A running audio commentary by Tom Weaver, filmmaker, and film fan/filmmaker Larry Blamire (LOST SKELTON OF CADAVRA, Columbia, 2001, inspired by films like G.F.T.U.). Weaver reveals a personal connection to this film, and the kindness that the filmmakers bestowed upon him. The commentary also uses audio clips of the late filmmaker, and some sound effects that seem influenced by Ghoulardi.
A second running commentary with co-star Gary Crutcher, who has fond memories of his first film role some sixty-two years later.
Ballyhoo Motion Pictures provides two new featurettes.
The first is YOU’RE A B-MOVIE STAR, CHARLIE BROWN -an interview by Daniel Griffith with co star Gary Crutcher, covering some of the same territory as his running commentary, but fascinating and fun, nonetheless.
THE MAN WITH A BADGE: BOB STEELE IN THE 1950s- C. Courtney Joyner (screenwriter of PRISON, Empire ,1987) and how big a deal it was to have Steele (January 23, 1907 – December 21, 1988) in this film.
from F TROOP -1965-7.WB-TV
A Booklet enclosed inside the disc case written by Tom Weaver about the making of the picture with some nice photos.
If you love 1950s B movies, this looks to be a must have to add to your collection.
Film Detective has truly gone all out on this one.
John Martin Feeney ,better known as John Ford, was and remains one of the cinemas greatest storytellers. From 1917 until 1976 , he was able to tell adventure filled stories with a lot of humanity and heart, developing a stock company of performers and technicians who would work with him again and again, bringing a uniformity of quality to his numerous projects.
He basically saved John Wayne from low budget B movies and turned him into an international star with STAGECOACH(Walter Wagner/U.A.,1939) and Wayne would return again and again to work with “Pappy”(his nickname for the director),with both delivering some of the best films of their respective careers , reaching their apex with the romance comedy THE QUIET MAN (Argosy/Republic ,1952, was also available from Olive Signature on Blu Ray ,and has become a sought after collector’s item).
Ford and Wayne made three films that have come to be known as the “Cavalry Trilogy”, made up of FORT APACHE ( Argosy/RKO ,1948), SHE WORE A YELLOW RIBBON (Argosy/ RKO ,1949) ,and this film ,RIO GRANDE (Argosy /Republic,1950). Though not directly related to each other, and made at two different studios ,with Wayne and various actors reappearing in the films, there is a unity in the stories about courage and honor .
The great Victor McLaglen
The film was also the first of five films that Wayne would co star with the wonderful Maureen O’Hara , three of which Ford directed them together in.
In 1879, Texas settlers are being attacked by Apache warriors who after the skirmishes, flee over the border to Mexico, outside of U.S. jurisdiction. During a recent attack, they have captured an Apache leader . Lt Col Kirby Yorke (Wayne), is hampered in his efforts due to lack of adequate troops. He is sent a group of mostly raw recruits to deal with this problem, among them is his son Trooper Jeff Yorke (16 year old Claude Jarman,Jr.,who had won an Academy Award for his wonderful work in 1946 for THE YEARLING,MGM). Jeff had flunked out of West Point, which does not make the relationship between father and son any better.
Adding to the tension is the arrival of Kathleen (Maureen O’Hara), Kirby’s estranged wife. She has arrived to buy out her son’s enlistment , only to discover her son does not want her to. Adding to the frisson is Sgt Major Quincannon(Victor McLaglen , Oscar winner for THE INFORMER ,RKO,1935),Kirby’s right hand man, who, during the Civil War, set torch to Bridedale, Kathleen’s Southern Estate.
The troops experience another attack from the Apaches who free their leader. Lt General Phillip Sheridan (JCarrol Naish , HOUSE OF FRANKENSTEIN ,Universal ,1944 ) orders Kirby decides to pursue the Apaches even into Mexico.
Yorke goes with two of his older troopers, Travis Tyree (Ben Johnson ,a former ranch hand who turned stunt man and small uncredited film roles, before Ford gave him a nice role in THREE GODFATHERS,Argosy/MGM ,1948 and becoming one of Ford’s stock company) and Daniel “Sandy”Boone (Harry Carey Jr ,the son of an actor who also was part of Ford’s reliables and was active until 2005,age 84 ). Also along is Jeff.
Ben Johnson
To complicate matters, they find out that a group of children have been taken hostage.
RIO GRANDE was a film that wasn’t originally planned by Ford. He was desperate to do THE QUIET MAN(finally made at Republic, 1952), but he could not convince any studio to produce it for him. Finally ,studio head Herbert J Yates made a deal with the director – he could make his passion project ,which Yates felt would be a prestige film but money loser , if he made RIO GRANDE for the studio as a more likely money maker.
Oddly, while RIO GRANDE did well , the little prestige film THE QUIET MAN was the bigger hit, becoming one of 1952’s top ten money makers. Still , RIO GRANDE made back double it’s cost for the studio .
The Olive Film release was previously released in a bare bones 1080p release in 2012. Now it has been given a special edition (Signature) release full of extras. The film is presented in DTS-HD 1.0 Mono that is very clear, whether it be the songs of The Sons of The Pioneers ,the battles, or a quiet scene between Wayne and O’Hara.
Ported over from Olive FilmsDVD release in 2002 is an informative Leonard Maltin documentary on THE MAKING OF RIO GRANDE .
– Audio commentary track by Nancy Schoenberger (author of Wayne and Ford: The Films, the Friendship, and the Forging of an American Hero,Deckle Edge Publishers, 2017 ) who goes into great detail about the relationship of the director and actor, as well as the making of the film). Newly recorded for this release.
STRENGTH & COURAGE – Patrick Wayne ,who made his uncredited debut as one of the kidnapped kids in the film, talks about his father.
New mini featurette ,BIGGER THAN LIFE –Claude Jarman Jr talks about working on this film which he says is his personal favorite.
New mini featurette TELLING REAL HISTORIES – Actor Raoul Trujillo (native actor, JAMESTOWN ,Sky ,2017-19) discusses how Native Americans were depicted in films.
Raoul Trujillo in JAMESTOWN
• New Interview –SONGS OF THE RIO GRANDE – film historian Marc Wanamaker (Early Poverty Row Studios by E.J. Stephens and Marc Wanamaker ;Arcadia ,2014)discusses The Sons of The Pioneers and their work in this film.
Booklet by Paul Andrew Hutton (American Cultural Historian,who has acted as historical consultant on several films, like THE MISSING ,Columbia, 2003) with original essay about the film.
Original Theatrical Trailer
RIO GRANDE is indeed a classic of American Moviemaking , and should be in the possession of any lover of films.
He Came from the Swamp: The William Grefé Collection [Blu-ray] Region Free 4 discs. 12 hours and 16 minutes. Color. 7 films (1966-1977) and a brand-new documentary (THEY CAME FROM THE SWAMP-THE FILMS OF WILLIAM GREFE produced by Ballyhoo Motion Pictures) plus lots of extras. $99.95 https://www.amazon.com/He-Came-Swamp-William-Collection/dp/B08GVJLKZL
William Grefe does not have the cult following that a lot of independent filmmakers have. Indeed, my knowledge of him was limited to two of his earliest horror films and little else.
This collection from Arrow is a great correction to that for me and other film buffs. In the set are 7 of the director’s works, along with another brilliant full-length documentary by Ballyhoo Motion Pictures on the Grefé’s career.
Seven of his works from the beginning and the end of his career are not included, probably due to rights issues, or perhaps if this set is popular enough, that there will be a second collection?
Drive-in movie theatres have been around since around 1915, but officially began with the first dedicated site for that purpose in Camden, NJ in 1933. In the 1940s, after the way, cars became more of an American way of life, and drive ins began to truly take off. At the same time, the Paramount Act in 1948 caused studios to divest themselves of theatres in a landmark antitrust suit.
This opened the doors for many independents in the 1950s to begin producing films to supply drive ins, as those theatres were looked upon as secondary markets or at least the destination for a film that had run its course financially prior.
American Releasing Corp (which morphed into the more familiar American International Pictures) was one of those that benefitted, aiming for the newly mobile teenage audiences that made drive ins profitable.
Independents would deal with local sub distributors who would handle territories that the country had been broken into. Some of these sub distributors would even make their own ultra-low budget films like the Texas-lensed THE GIANT GILA MONSTER and THE KILLER SHREWS (McLendon-Radio Pictures Distributing Company, both 1959).
In the 1960’s, more maverick filmmakers started to shoot their low budget films around the country, many of them working in Florida. Among the first was H.G. Lewis and his BLOOD FEAST (Box Office Spectaculars, 1963).
William Shatner appeared in Grefe’s IMPULSE(1974)
Another was William Grefé. A Florida native, he began making films in 1963 as well for the local drive- in film circuit. Two racing films (THE CHECKERED FLAG, Motion Picture Investors ,1963 and RACING FEVER, A.A.,1964, the second of which was built around an actual horrible boat accident caught by an amateur photographer) came and went. His third film (and the first in this collection) was a horror film set within the Everglades.
Disc One of this Arrow Blu Ray collection has STING OF DEATH and DEATH CURSE OF TARTU.
STING OF DEATH (Thunderbird,1966)) was an ultra-low budget color (all Grefé’s films were in color, except for THE DEVIL’S SISTER, Thunderbird ,1966) that was intended for the drive-in market. For couples looking for an excuse to make out in the privacy of their cars, this film was a good reason to do so. A humanoid/ jellyfish hybrid (poor Bill Hobart, in a diving outfit slightly altered and a plastic bag over his head which in one scene almost caused him to suffocate to death!) is out killing people in Florida. A group of young people (including Deana Lund, prior to her stint on tv’s LAND OF THE GIANTS, Fox ,1968-70) draw the attention of Egon (John Vella), who is the evil genius who has a machine attached to an actual Portuguese Man of War that allows him to transform into the creature that is killing everyone. Oddly, the film seemed to inspire ZAAT (Clark, 1971) , another Florida lensed man into mutant aquatic monster hybrid film .
Zaat, a STING OF DEATH ripoff?
Needing a second feature, Grefé wrote a quick script, got a team together, and filmed his co-feature in a week.
Deanna Lund
DEATH CURSE OF TARTU (Thunderbird ,1966) was an ultra-low budget color (all Grefé’s films were in color, except for THE DEVIL’S SISTER, Thunderbird ,1966) horror film that got a decent release upon the drive-in circuits, as well as some spots on late night movie channels in syndication. I recall first seeing a black and White picture of Tartu (Bill Hobart, who designed his own makeup, and became one of Grefé’s stock company behind and in front of the camera.) in an early issue of FAMOUS MONSTERS and becoming intrigued by it.
An explorer (Brad Grinter, later to direct Veronica Lake’s sad swan song FLESH FEAST, Viking,1970 & the bizarre killer turkey flick BLOOD FREAK, Sampson ,1972) uncovers a crypt wherein he is confronted by Tartu and killed. A short time later, Sam (Frank Weed, who also handled all the exotic animals that appeared in Grefe’s films) and a group including a Professor, his wife and their students exploring old Indian sites soon are the next to become involved with the Death Curse.
Tartu can transform himself and pops up as various swamp creatures to pick of various members of the party, including a shark (!) before the final showdown. Grefé claimed that he dashed the script out very quickly and it shows. Lots of long passages of nature shots where nothing happens, followed by some brief dialogue then back to padding before something happens for a few seconds. Still, the film had a long life, as director Frank Henenlotter recalled it still playing in the 42nd Street Grindhouses as late as 1976, but how much of receipts reached Grefé is unknown. Actress Mayra Gomez moved to Spain, where she became a bit of staple of Spanish tv in the 1970s.
These two films have quite a cult following, having gotten released on video and DVD by Something Weird video in prints that had gone through the projectors quite a few times, with faded color and scratches.
The Arrow releases have presented the films in such sharpness as to make them look brand new. The colors are vibrant, and the overall pictures are quite sharp. The studio has gone to the original film elements and given us new 2K scans. it is astonishing the care that went into their restoration.
Extras include new intros by the director, as well as running commentaries by Grefe and Henenlotter (the commentaries ported over from the original Something Weird DVD releases). Find out how Neil Sedaka ended up contributing the song “Do the Jellyfish “to STING OF DEATH .
Do the Jellyfish
A new mini doc by filmmaker C Courtney Joyner called BEYOND THE MOVIE-MONSTERS A GO GO! which examines rock n roll monster movies from the 1950s onward, including the AIP Beach Blanket films that added horror stars like Karloff and Price in cameos.
Doug Hobart talks about his experience with running his own spook show in the fascinating THE CURIOUS CASE OF DR. TRABOH: SPOOK SHOW EXTRAORDINAIRE. For those like myself too young to have experienced these, this is a fascinating piece of movie /theatre history and is true ballyhoo (the extras on these discs are all by the film history doc specialists, Daniel Griffith ‘s BALLYHOO MOTION PICTURES, who consistently make some of the best DVD/BLU RAY extras).
Not Dr . Traboh ,but…
Also, on disc one is the some of the original theatrical trailers for STING OF DEATH and DEATH CURSE OF TARTU.
Disc 2 has Grefe’s reaction to the Swinging’ Sixties, THE HOOKED GENERATION (A.A.,1968) and THEPSYCHEDELIC PRIEST (Allied International ,1971).
THE HOOKED GENERATION has three low lifes who want to break into the big time of drug dealing and go full Scarface by killing a bunch of Cubans for their boatload of drugs (it seems while drugs were crimes in Cuba, they had no problem making money off selling them to the Americans), then killing members of the Coast Guard, before having to turn and flee for a final show down between them in the swamps and the police. It is a gritty film with truly unlikeable characters (a rape scene thankfully is not shown).
THE PSYCHEDELIC PRIEST (original title: Electric Shades of Gray) is an interesting film. Grefé on the commentary tells us that producer Stewart (Terry) Merrill wanted to make a film about a priest in the Height Ashbury drug scene. The only problem is he had nothing beyond that idea. Grefé found that it was not a problem, and, with money in hand, began to improvise his film with actor John Darrell (who IMDB seems to feel moved to England and later appeared in several episodes of the Shakespearean series THE WAR OF THE ROSES, BBC 1990-91 !) and mostly a cast pulled off the streets and campuses.
Someone slipped him a Doctor Pepper??
Father John (Darrell) is seen talking to several college students about pot smoking and drugs. They offer him a soda, with him unaware that it is spiked with L.S.D. He goes back to church where he has a bad trip, convincing him to drop out (becoming the embodiment of Timothy Leary’s famous 1966 phrase “Turn on, tune in, drop out”). He decides to take a car and travel the open road, wherein he picks up a young hitchhiker who travels awhile with him. He rebukes her admission of love, which is followed by her death. John also witnesses a racial murder perpetrated by some small-town sheriffs, causing John to spiral downwards into harder drugs.
In the final act, he finds his faith again before the end credits crawl, making one think of those religious scare films so “popular “in the 1960s ,70s and 80s. For example: here is a clip from Rock: It’s Your Decision (1982), wherein a young man finds being denied access to rock n’ roll saves him from…. SATAN. https://www.youtube.com/watch?v=M_aHgKWwAy0 .
However, after finishing the film, producer Merrill got into a fight with the distributor, and so the film ended up shelved for decades, until it was saved by Something Weird Video in 2001.
Both films have been remastered from the best elements available and given a 2K scanning. That said, the films could only be improved so much, especially the 16mm PSYCHEDELIC PRIEST.
Extras include
new introductions to each film by the director
Mike Vraney & Lisa Petrucci
Running commentaries by Grefé and Henenlotter wisely carried over from their old Something Weird releases (the late Mike Varney and his wife Lisa Petrucci saved more films from vanishing forever that they deserve a special Oscar for film preservation, though the movies they preserved would not be nominated for Academy Awards, playing instead in grind houses, drive ins and even in porn theatres).
A new mini documentary by film historian Chris Poggiali called BEYOND THE MOVIE: THAT’S DRUGSPLOITATION! that explores films that would be called counterculture.
Another new mini doc, again by Poggiali, called BEYOND THE MOVIE: THE ULTIMATE ROAD TRIP-which gives you the history behind THE PSYCHEDELIC PRIEST.
BEHIND THE SCENES footage from THE HOOKED GENERATION.
A still gallery from THE HOOKED GENERATION.
DISC 3
• THE NAKED ZOO (1971) This was Grefé’s attempt to cash into the WHAT EVER HAPPENED TO BABY JANE? (WB,1962) style of thriller (also known as “Hag Horror”, a cruel comment about films where aging Stars and Actresses were forced into material they once may have turned up their noses at). This SUNSET BOULEVARD (Paramount ,1950) type film has Rita Hayworth (GILDA, Columbia, 1946) as Mrs. Golden, who is taking care of her wheelchair bound husband (Ford Rainey, a reliable character actor who appeared on television in various series from 1951 up to 2017!). When a young writer Terry Shaw (Steve Oliver, who appeared the following year in WEREWOLVES ON WHEELS, Fanfare,1971) shows up, the love starved woman’s infatuation leads to seductions and murder. The lovely Fay Spain (HERCULES CONQUERS ATLANTIS, SpA Cinematografica,1961, who died way too young from cancer in 1983) adds a bit of sex appeal.
Fay Spain
Poor Hayworth looks older than her 52 years in this film, due no doubt from a lifetime of abuse both mental, physical, emotional, and financial from her husbands, driving her into alcoholism as well as possibly the first stages of Alzheimer’s Disease. Indeed, 2 years later, her scenes in WRATH OF GOD (MGM,1972) had to be shot one line at a time.
MAKO: JAWS OF DEATH (Cannon, 1976) -having had a hit with STANLEY (Crown Int, 1972) Grefé wanted to do another nature gone wild film. He had an idea to use a shark as the main creature but at the time, no one would foot the bill for such a film. Then JAWS (Universal,1975) shattered all box office records, and suddenly everyone wanted a film featuring the finned terrors. Grefé obliged with this film.
Richard Jaeckel (who won an Oscar nom for his role in SOMETIMES A GREAT NOTION, Universal,1971) is Sonny Stein. During the Vietnam War, he was saved from the enemy by a Mako Shark. Now working as a marine salvager, a shaman gives him a charm to help him have a psychic link between the sharks and himself. Oddly , none of the sharks shown in the film are Mako sharks.
Seeing how people around him treat the sharks, he uses them to extract revenge, including killing an underwater dancer (an attraction totally unique to Florida) when a shark is introduced into her tank.
Also in the film is Harold “Odd Job” Sakata, who had almost really died while filming Grefe’s IMPULSE (Camelot,1974). Here he ends up on the wrong end of a fishhook.
Once again, ARROW gives us a 2K restoration of both films from original film elements. Also new to these releases are brand new audio commentaries by director Grefé.
New intros for each film by Grefé.
An interesting offering is a 92-minute DIRECTOR’S CUT of THE NAKED ZOO, as well as the version released theatrically and altered by the distributors, who added a performance by Canned Heat as well as some nude insert shots, so I guess the Non-Director cut.
A retitled -reissue of THE NAKED ZOO
A new mini doc BEYOND THE MOVIE: THAT’S SHARKSPLOITATION! By film historian Michael Gingold about the spawn of JAWS, including piranhas and alligators.
New to this release: THE AQUAMAID SPEAKS! – An audio interview with Jennifer Bishop, the hapless actress almost bitten by a shark for real in MAKO.
Jennifer Bishop
Another new audio interview: SHARKS, STALKERS, AND SASQUATCH, with Mako writer Robert Morgan, who has spent decades talking about Bigfoot, whom he claims he first saw in 1957.
MAKO-The Super 8 Digest version. For you kiddies, before vcrs, streaming, the internet, this was often the only way to get your hands on a film.
Original trailers
Still and Promo Galleries
DISC 4 WHISKEY MOUNTAIN (1977) is an action thriller film set in the backwoods. A group of young people go into the mountains looking for a stash of old Confederate gear, only to come across a bunch of hillbilly drug dealers who do not take kindly to interlopers. Fast paced with lots of stunts, starring Christopher George (tv’s RAT PATROL, U.A. 1966-68) as well as the indie ecological horror film GRIZZLY (Film Ventures,1976).
THEY CAME FROM THE SWAMP: THE FILMS OF WILLIAM GREFE (2016) -this for me was the highlight of the collection. Daniel Griffith, of Ballyhoo Motion Pictures, has done this 127-minute tribute to William Grefé, highlighting the take any risk but get it on film style of the filmmaker, and indeed, of many indie cinema makers. This is an extended version of this documentary tribute that had been previously been released in a special two-disc DVD edition (the second disc featured WHISKEY MOUNTAIN).
Interviews with Grefé, and many of the surviving cast and crew of his films, as well as filmmakers like FrankHenenlotter (BASKET CASE, Analysis, 1982) and Fred Olen Ray (THE PHANTOM EMPIRE, American Independent Productions 1988). Besides his own films, Grefé worked as a second unit director on major films shot in Florida like LIVE & LET DIE (U.A.,1973) as well as promotional shorts for various companies. It is a fascinating look at D.I.Y. guerilla filmmaking.
Extras on this disc include
2K restoration of WHISKEY MOUNTAIN from original film elements.
Christopher George
New audio commentary by Grefé on WHISKEY MOUNTAIN.
New intro to WHISKEY MOUNTAIN by Grefé.
THE CROWN JEWELS– A new mini documentary about Crown International, who released several of Grefé’s films, like STANLEY (1972).
ON LOCATION: GREFE IN MIAMI– a new archival tour of various locations used by Grefé.
BACARDI AND COKE BONANZA (1981) a short film shot by Grefé about how-well – Bacardi & Coke go together.
WHISKEY MOUNTAIN trailer.
Bonus Exploitation trailer Gallery.
Each of the discs has reversible disc cover sleeves with original artwork
Collectors Booklet with an interview with the director.
The films not in the collection by the way are for the Grefe completists THE CHECKERED FLAG (1963), RACING FEVER (1964), DEVIL’S SISTERS (1966), WILD REBELS (1967), STANLEY (1972), IMPULSE (1974), THE GODMOTHERS (1975).
scarletthefilmmagazine 