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BLUE MOVIE(1971) Cult Epics Blu Ray/DVD combo release

BLUE MOVIE (CULT EPICS Blu Ray DVD Combo, Feb 2019) Dutch,1971 89 mins. Color. Dutch, with optional English subtitles.
https://www.paypal.com/webapps/hermes?token=1E9409251B771762H&useraction=commit&mfid=1552229982906_40b8158c54ef8

 

                          “This is Holland Today.” -Michael (Hugo Metsers, BLUE MOVIE)

BLUE MOVIE is an interesting motion picture that became one of the most successful Dutch films ever made (it is still listed as number 5). Its importance cannot be overlooked, as it was a film that showed that an intelligent thoughtful film could be made that contained actual (as well as simulated) sex within it.

Indeed, were it not for films like BLUE MOVIE helping break down and through the censorship that films endured both in Europe and the U.S., it is doubtful that Catherine Breillat, Gaspar Noe, and Lars Von Trier would probably not being creating their works today.

A “blue movie” was one that was considered racier than the standard film of the time. Andy Warhol had done a film also called BLUE MOVIE (1969), which became the first film with explicit sex that received a wide theatrical release in the U.S. and began what became in the 1970s as “porn chic”.

 

 

The 1971 film being reviewed here could have played like a comic sex romp similar to the popular Robin Askwith films from England that followed in the decade, such as CONFESSIONS OF A WINDOW CLEANER (Columbia, 1974), were it not for the thoughtful direction, script and performances. That said, the filmmakers do sometimes see the humor in the various couplings, with one sequence within an elevator showing the couple going at it within the box, while frustrated people gather below wondering what is holding up the lift.

 


Michael (Hugo Metsers*, at age 28 ,starring in his first feature after just two t.v. appearances) has been released from prison after five years ,due to having sex with an under-aged girl .His parole officer Eddie (Helmert Woudenberg )escorts Michael (oddly none of the characters seem to  have a last name, not even those who are married seem to have a surname) to a sterile modern apartment block. Michael’s small apartment seems almost as small as a prison cell, barely furnished. Eddie tells Michael that he will be keeping an eye upon him.

 

 

Still, Michael has urges, and, one night, peers around his balcony and watches his neighbors have sex. Later, he meets with the neighbors, and becomes sexually involved with the wife Elly (Carry Tefsen). He soon finds others within the building are open to sexual exploration, and he is soon having flings with several within the complex, including one amusing bit wherein a husband walks in on his wife and Michael, only to jump in and join them!

 

Michael, however, starts developing actual feelings for Julia (Ine Veen) ,an unmarried mother within the complex. He cares for her but skips a date with her rather than possibly hurting her.

 

He continues exploring the sexual mores of the time, and soon comes upon the idea of making money off the obvious fixations within the complex. He starts a private sex club and his neighbors stand about staring at black & white porn films (which have the most graphic sex of a few seconds that are depicted within Blue Movie), and later nude models walk about and finally a doctor is invited who examines the guests who wish to take part in an orgy .

One of the guests, Newman (Bill van Dijk, later to star on Broadway in the title role of CYRANO THE MUSICAL ,1994 as well as international pop star) commits suicide by leaping from the balcony of the apartment . Things start to fall apart, but Michael realizes that he truly has feelings for Julia. Can sex be truly satisfying without an emotional connection?

 

One of the Dutch Sex Wave, these films helped change how films were reviewed and censored. The producers released several other films that continued and expanded the trail blazed by BLUE MOVIE, and CULT EPICS has several of them available (see trailers mentioned below).

Though low budget, the film shows true talent both in front of and behind the camera.

The most notable is the director of photography is Jan de Bont .Mr. de Bont, after hopping back and forth from other European productions (most notably THE 4TH MAN ,Rob Houwer Productions,1983)and low to mid budget U.S. films ( CUJO, 1983;Sunn Classics/Taft) , he got major notice for his works on such blockbusters as DIE HARD (Fox,1988) before becoming a director himself on the megahit SPEED (Fox 1994),

 

The soundtrack by Juergen Drews (he played a street singer in the giallo SHORT NIGHT OF THE GLASS DOLLS (Deter Geissler Filmproduktion ,1971) is a simple effective score, which at times reminds me of the music used in MIDNIGHT COWBOY (U.A.,1969) .

 

CULT EPICS has done a phenomenal job with their restoration.

A 1080p HD transfer (thanks to the Eye Institute in Amsterdam, using original 16mm and 35mm negative elements), the picture is clean ,with outdoor scenes having a strong blue tinge . This seems to be more due to the color stock used than any intentional referencing to the title. The film is as sharp as it has probably ever looked.

The DTS-HD Master Audio 2.0 mono track on the blu ray Dolby Digital dual Mono sound is crisp and clear, with no noticeable pops in the Dutch language only soundtrack. Optional English subtitles are easy to read.
Extras on the discs include

-A 1971 Interview from the director Wim Verstappen (who passed way in 2004) who discusses (in Dutch, with burnt in English subtitles) about making the film, dealing with censors, raising funds outside of the country, and plans for a thriller.

-A 2018 interview with producer Pim de la Parra while he was attending a retrospective of the “Dutch Sex Wave “. We learn that the director based his film upon sexploitation films that he had seen when he had visited New York.

 

-Another 2018 interview (in English) with Hugo Metsers Jr, son of the lead actor. He talks about seeing this film when he was quite young, and how seeing his father was the star destroyed any eroticism the film might have had upon him. He also recalls his father is happier with stage work over film.

 

– A short piece on, the Eye Film Institute. The organization is dedicated to the preservation of film, particularly Dutch works. Also, in their collections are rare film books, posters, and publicity material, as well as screening rooms. By the way, should you wish to check out their website in English, https://www.eyefilm.nl/en . The structure, built near the river in Amsterdam, looks like the Sydney Opera House mated with the MOMA in New York!

– A poster and photo gallery for BLUE MOVIE.

-Four trailers for films by the same production team (Pim & Wim’s Scorpio Films), including

BLUE MOVIE (which gives you an idea of how the film may have looked before the restoration),

OBSESSIONS (1969 ,which shows a strong Hitchcock influence as well as a Bernard Herrmann score that he used from pieces he created back in 1957 for the CBS Music Library!) available from Cult Epics http://www.cultepics.com/product-detail/obsessions/

 

FRANK & EVA (1973, also starring Metsers) http://www.cultepics.com/product-detail/frank-eva/ ,

and MY NIGHTS WITH SUSAN, SANDRA, OLGA and JULIE (1975 ,that appears to be a more erotic variant of THE BEGUILED ,Universal, 1971) ,currently not listed as available from Cult Epics.

Recommended, especially for fans of foreign films, art house, and erotica.

Kudos to Cult Epics for the care that they give to these films.

Kevin G Shinnick

*- there is another Dutch actor, also named Hugo Metsers, who was only about 3 when BLUE MOVIE was made.

 

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1980s, Blu Ray, CAROLINE MUNRO, cult, exploitation, film, genre, gore, Horror, https://www.facebook.com/scarletthefilmmagazine/, independent film, JOE SPINELL, review, reviews, SCARLETTHEFILMMAGAZINE.WORDPRESS.COM, thriller, TOM SAVINI, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized, WILLIAM LUSTIG

MANIAC -Blue Underground 3 disc Ltd Edition Blu ray

                                                

 

                                                                MANIAC     

                                                     3 Disc Ltd Edition BLU RAY
-Blue Underground December 11,2018.

1980, originally released by Analysis Film Releasing Corp.87 min. Color .

Available as a 3-disc Limited Edition /4 K remaster (2BD plus 1 CD) $39.95 REGION FREE.

http://www.blue-underground.com/product.php?product=291

Back in the early 1980s, horror films were massive money makers. For relatively low costs, filmmakers of various skills could get a camera, an effects person, and maybe some women willing to shed their clothes, and even the feeblest efforts could get a theatrical release.

Then there were films that were done with the same miniscule budgets but with a bit more skill, darker tone perhaps, better actors, direction, and technical skills

MANIAC falls into that latter category. The film was inspired by the infamous Son of Sam. David Berkowitz began his wave of terror that terrorized the city of New York on Christmas Eve ,1975 with what was at first were considered random stabbings.

His first murder (and first use of his weapon of choice, a .44 calibre, thus his being dubbed at first the .44 Calibre Killer) was on July 29,1976. He finally was arrested on August 7,1977 after avoiding the biggest manhunt in NYC history, sending taunting letters to both the police and the press, having killed six people and wounded seven others by July 1977. When apprehended, he confessed but adding he was being ordered to telepathically by his neighbor Sam’s dog Harvey (thus, the ”son” of Sam.). Later ,he admitted he made up the dog story, but the legend continues.

When people found out that publishers were offering huge sums of money for his story, the Son of Sam Law, which was designed to keep criminals from further profiting from their crimes.

This did not stop newspapers, book publishers, television shows ,and even movies from cranking out their own money making attempts to exploit the story , one of the earliest is the nearly unwatchable ANOTHER SON OF SAM (1977, which began in 1975 as a cheapie called HOSTAGES ).

 

Filmmaker William Lustig had grown up enjoying the exploitation smorgasbord offered up in the 1950s,60s and 70s that played in the grindhouses of 42nd Street. After taking some film classes, he found work on both mainstream film (as a P.A. on DEATH WISH,Paramount,1974) before moving into the profitable adult film market, where he worked as editor, producer, and director (and probably a lot of other jobs too) .

 

He saw the money that films like FRIDAY THE 13th (Paramount ,1980) were making ,and thus, taking his share of his latest adult title , he decided to make his own horror movie.

 

He was wise enough to get the wizard who created the effects that had made FRIDAY THE 13TH so memorable, namely Tom Savini . Lustig also cast actor Joe Spinell, who also co-produced ad co wrote the script. Spinell was a hard- working character actor who had worked in supporting roles in major films but this would be his first starring role. Finally, they hired actress Caroline Munro (after their first choice had dropped out), who had starred in several horror and fantasy films throughout the 1970s, as well as being featured in major films like THE SPY WHO LOVED ME ,U.A.,1977).

 

The film is a gritty time capsule of New York City. Tourists were afraid to come to the city, never mind walk the streets at night. Hookers, pimps and drug dealers stood aside sleazy motels and grind house movie theatres, trying to lure in the unwary to sample their wares – or simply rob them.

 

Cinematographer Robert Lindsay, who had worked with Lustig on his previous adult movies, perfectly captures that sense of dread and moral decay.

     (Warning – plot spoilers)

Frank Zito (a completely believable full on psycho performance by Joe Spinell) wanders the city and kills young women who he is aroused by, then scalping them and then taking his bloody souvenir home and attaching it to one of the many mannikins he has littering his apartment. It seems that he was abused as a child by his hooker mom and so he finds that beauty is punishable by death.

One couple is killed in their car when Frank jumps upon the hood of the vehicle and point- blank fires a double- barreled shotgun blast into the passenger (Tom Savini, who not only played the victim, but used his own sculpted head to blow apart. Savini also doubled for Frank and used an actual shotgun to blow up the sculpture, having the odd honor of shooting himself on camera! Since they did not have permits, Savini then tossed the gun into a waiting truck and was driven away in case of police investigating the reports of gunfire) before killing the young woman also in the vehicle.

Frank talks to his mannequins and sobs and wails when he sees the coverage of his latest murders upon his television. He is truly Norman Bates on speed in this film. Still, Spinell, while creepy and often veering dangerously close to overacting, never loses a sense of reality in his portrayal.)

Somehow, he meets a beautiful photographer, Anna (Caroline Munro), after she takes his photo. They oddly become friendly while Frank continues his killing spree, killing a nurse as well as one of Anna’s models, adding their scalps to his growing collection. Frank is starting to lose the small grip that he has on reality, for when he kills the mode, he first begins talking to her as his deceased mother.

 

Still, Anna goes out with Frank, stopping off at the graveyard where his mother was buried. Frank finally attacks Anna, but she bashes him with a shovel and escape. He tries to pursue her but suddenly imagines that his mother is rising from her grave. Terrified, he flees home. His apartment proves no safe sanctuary , however , as the mannequins come alive and throw him onto his bed, where they tear his head from his body!

The film has been a constant for collectors ever since VHS was the market staple.

This new BLU RAY is the must have version for collectors.

MEDIA VHS release

 

The movie is in its original aspect ratio of 1.85:1 with a magnificent 4k 1080p transfer. For a low budget film, the film has some superb cinematography, and this release does justice to its color photography. What is more amazing is when you realize the film was shot in 16mm and then blown up to 35mm. For decades, the original 16mm negatives were missing but now, they have been found. Prior prints were from a 35mm dupe, with all the inherit flaws that involves. The original camera negative used here seems less grainy (save for the usual grain of the format) and increases the sharpness of the images.

 

Comparing it to an old DVD release, the sharper clarity is so easy to see.

The original film was one of the first indies to use Dolby Stereo, but this release makes full use of the process. I heard no pops or hiss on the soundtrack, and the music, dialogue and sound effects are clear and make good use of the separate speakers on my system. I only listened to the 2.0 DTS-HD track, but you are offered the choice also of Dolby Digital 2.0 (which perhaps would reflect the original release sound) as well as 7.1 DTS-HD.

 

You can also experience the film in Dolby Digital 2.0 French, Italian, German, and Spanish audio, as well as Optional subtitles in English, French, German, Italian, Japanese, Portuguese,
Spanish, Dutch, Danish, Finnish, Korean, Swedish, Russian, Mandarin, Cantonese, and Thai (phew!).

There are six standard audio tracks on this Blu-ray release: English: DTS-HD Master Audio 2.0, English: DTS-HD Master Audio 7.1, French: Dolby Digital 2.0, Italian: Dolby Digital 2.0, German: Dolby Digital 2.0, and Spanish: Dolby Digital 2.0. Optional English SDH, French, German, Italian, Japanese, Portuguese, Spanish, Danish, Dutch, Finnish, Korean, Russian, Swedish, Mandarin (Simplified), Mandarin (Traditional), Cantonese, and Thai yellow subtitles are provided for the main feature.

That would be more than enough for most major studio releases, but BLUE UNDERGROUND has piled on the extras to truly make this a special collectible 3- Disc Edition.

 

On the first disc, along with the film, we get a running audio commentary with Lustig and Producer Andrew W. Garroni. This is a newly recorded commentary full of little insights as well as the how well the film holds up 38 years (!) later.

 

Also on the first disc is a second commentary track lifted from the previous 2007 DVD release from Blue Underground. On this track are Lustig, Tom Savini , film editor Lorenzo Marinelli and Joe Spinell’s assistant Luke Walter (Spinell sadly dying way too early in 1989 ,at age 52). There are a lot of fond memories and humor as well as technical details on the making of the film.

 

This first disc also has the original Theatrical trailer, as well as tv and radio spots. One wonders if trailers such as this which show such graphic violence could be shown nowadays https://www.youtube.com/watch?v=Ya7lVHk-qD8 .

Where else would you hear CALIGULA (Penthouse /1979) and MANIAC in the same sentence? https://www.youtube.com/watch?v=TCCsMzpBQqA

 

Disc Two
There are several more extras that fill this second disc. The first two are newly made especially for this release. The others are ported over from the MANIAC 30th Anniversary of 2010 or previous DVD releases.

OUTTAKES- rough footage and alternate takes give a glimpse of the behind the scenes making of MANIAC. The outtakes are not restored nor cleaned up and thus seem a bit more grainy but are a treat nonetheless.

 

RETURNING TO THE SCENE OF THE CRIME- on camera interview with William Lustig.
He talks about the making of the film with an obvious pride and enthusiasm.

ANNA & THE KILLER- Caroline Munro talks about her career and working on this flick as well as other films with Spinell .

THE DEATH DEALER- Tom Savini (who else?) Always fun to see and hear Tom talk about his magic.

 

DARK NOTES- Composer Jay Chattaway talks about this Jazz Musician came about getting his first film score and how he tried to get into the head of a psychopath to create his score.

MANIAC MEN -Michael Sembello and Dennis Matkosky discuss the song that the film inspired and later popularized in the Paramount film FLASHDANCE (1983).

THE JOE SPINNELL STORY- this is ,for me ,the highlight of the extras as this nearly an hour long documentary covers the actor’s life with personal memories , home movies and appearances on ‘The Joe Franklin Show”. Success seemed to have hurt Spinnell and been somewhat responsible for his early demise. (Copyright-2001).

 

 

MR ROBBIE: MANIAC 2 PROMO REEL– Buddy (COMBAT SHOCK, Troma ,1986) Giovinazzo had planned a warped sequel of sorts, with Spinell as a children’s show host with a disturbing secret. Imagine Spinell as Krusty The Clown and you can imagine how warped that it is. They never were able to raise the funds.

PUBLICITY – featurette. Interviews with the cast and crew.

MANIAC CONTROVERSY – Like SNUFF (Monarch,1975) before it, the filmmakers used the complaints and horrific reactions to the film to get the curious into the cinemas and see what all the fuss was about. Unlike SNUFF, they got a powerful that wasn’t just hype.

Third Disc- MANIAC original Motion Picture Soundtrack cd. This is a big bonus, as the soundtrack by itself sells for about $20 at least at horror conventions.

Bonus Booklet by Michael Gingold (Fangoria, Rue Morgue)- a short essay about the production .

The film is to this day very hard to watch for many, due to its gritty atmosphere which captures the sense of NYC at the time , as well as it’s still powerful effects .It also does have a strong sense of misogyny that is hard to ignore but it does also capture the mind set of the character. Joe Spinell’s daring performance both repels us while he fascinates us, lifting the feature above the other stalk and slash films of the era.

 

JUMP TO 2018 –

Before Alek Minassian killed 10 people, the majority of them women, by driving his van into pedestrians on a Toronto street Monday, he posted on Facebook praising mass murderer Elliot Rodger and called for an “Incel Rebellion,” an uprising of men who are angry women won’t have sex with them.

https://www.usatoday.com/story/news/2018/04/26/incel-rebellion-alek-minassian-sexual-entitlement-mens-rights-elliot-rodger/550635002/

Perhaps MANIAC was predicting a movement, a hidden dark secret, that we back then could not even imagine??

RECOMMENDED for fans of 80’s horror, JOE SPINELL, CAROLINE MUNRO, TOM SAVINI, WILLIAM LUSTIG, stunning effects.

Kudos to BLUE UNDERGROUND for this super -deluxe must have 3-disc collector’s edition.

-Kevin G Shinnick

 

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BORIS KARLOFF COLLECTION (VCI)

3D-Boris-Karloff-Collection-500x500

 

BORIS KARLOFF COLLECTION (VCI,2 discs, DVD) Released September 2018. Color.  $14.99

https://www.vcientertainment.com/index.php?route=product/product&product_id=1104

Many years ago, when the late great Boris Karloff passed away in February 2,1969, Jim Warren’s and Forrest J Ackerman’s FAMOUS MONSTERS OF FILMLAND provided two fitting tributes.

One, was issue #56 of FMOF with a beautiful  Basil Gogos cover of Karloff as his most famous role.

download

The other was a paperback by FJA called THE FRANKENSCIENCE MONSTER (Ace,1969, a cover not by Gogos but paperback cover artist Verne Tossey.). At the time,before the ability to google, this was the source for any monster news. Many of us though that Karloff’s final film was a classic of modern cinema, Peter Bogdanovich’s   TARGETS  (August 1968,Paramount).

karloff_cult_02_dvd

However, thanks to Uncle Forry , we found out that 80 plus year old Karloff had signed with producer Luis Enrique Vergara and Azteca Films of Mexico (who in turn had a distribution agreement with Columbia Pictures) for a four-picture deal at a salary of $400,000. The actor could have said no to the projects and easily retired, having a comfortable sum saved up over the years. No one could have blamed him, either, as his lungs were barely functional (due to years of smoking as well as damage from pneumonia he contracted in Italy filming BLACK SABBATH,1963,AIP , leaving him dependent on oxygen tanks to aid his breathing) as well as crippling arthritis that made walking difficult.

karloff_at_01_dvd

Still, as he often said, he wanted to die with his boots on, doing the job he loved if audiences wanted to see him. An example was when he filmed an episode of THE RED SKELTON SHOW (“He Who Steals My Robot Steals Trash” aired September 24,1968, CBS), rather than do the show before the live audience in a wheel chair as rehearsed, he willed himself to walk with the aid of a cane rather than have the people see him so confined.

Thus, the quartet of Mexican horror films were jobs that he readily accepted, feeling fortunate that audiences still wished to see him.

karloff_dod_01_dvd

Difficulties for the productions arose when it was discovered that Karloff’s health would not permit him to film in Mexico, and his sequences were shot in a small studio in Santa Monica, California in April/May 1968, while the rest of the films were completed in Mexico, often with a double for the star.

karloff_tort02_dvd

The four films were to be made over a 5-week period, so this extra expense of two crews, duplicating sets, and flying up some of the Mexican cast to work with Karloff must have frayed the already low budgets.  Juan Ibáñez directed the Mexican main unit, while cult director Jack Hill (SPIDER BABY,1967, American General) handled the American Karloff unit, as well as contributing to the screenplays.

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Hill it seems was hampered because the producer wanted to use an early form of video playback by tying a primitive video camera to the top of the 35mm Mitchells used to film the movie. Jerry Lewis had pioneered the idea and it is now the common practice, but Hill felt that it slowed down his process.

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With all these problems somehow the four films were filmed and completed. Karloff did not live to see the release of these films, which seemed to have been held back until 1971 for their limited distributions (Cannon also got around to distribute Karloff’s 1967 Spanish lensed CAULDRON OF BLOOD the same year, which got a wider release in the U.S. than the four Mexican thrillers).

 

Over the years, the films have been released on various video labels, including MPI and United American budget label, as well as several of the titles getting a DVD release by Fred Olen Ray’s Retromedia label.

 

VCI has now for the first time put all four films together in an affordable (less than the cost of some single DVD releases) two-disc collection.

karloff_cult_05_dvd

The four titles in the collection are

menu_boris_karloff_m01_blu-ray.

(Disc One)

DANCE OF DEATH (aka HOUSE OF EVIL, SERENADA MACABRA)

TORTURE ZONE (edited version of FEAR CHAMBER)

menu_boris_karloff_m02_blu-ray.

(Disc Two)

ALIEN TERROR (filmed as THE INCREDIBLE INVASION, Invasión siniestra)

CULT OF THE DEAD (edited version of ISLE OF THE SNAKE PEOPLE, La muerte vivente)

 

The discs seem to be sourced from the old MPI videos, with the same video generated titles (©1987 by the Parasol Group). The prints of the four movies are a bit dark and sometimes the color is a bit off.  The copy  of TORTURE ZONE seemed in the worst condition, with several visible splices.

fear_chamber_1968___5a53f0e99d7d4.mp4

 

It is a shame that they did not seek out the Retromedia or Elite release of FEAR CHAMBER, as both of those are in the original aspect ratio with sharp picture and color quality, as well as extras such as an audio commentary by Jack Hill and a deleted scene.MPI’s TORTURE ZONE is an edited version of this film ,so all of the nudity Is eliminated .

Fear Chamber 14

Only TORTURE ZONE was set in present day, with the rest set at around the turn of the 20th Century. ALIEN TERROR was supposedly the last one filmed, and the only one NOT starring Julissa, giving actress German actress Christa Linder a chance.

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The 2.0 Dolby Digital sound for the films is clear with no noticeable loss in quality of dialogue or the sound effects.

There are no extras to the discs, but again, to get these four films together at such a low price, one should not expect any special edition treatment.

While we would all like to get the best possible and most complete versions, certain films have limited audiences and the profitability is to say the least, narrow.

brightcove_proxy

One wonders, for example, if VCI had gone out of their way to get new prints, cleaned up and loaded with extras, would fans shell out $29.95 for each of these films?

macabre

DANCE OF DEATH -this film is perhaps the most traditional horror film, with obvious influences of the Roger Corman Poe films. The film even claims to be based upon a Poe story, though none that I am familiar with.hoise of evil                                                  original Spanish language credit

 

Wealthy toymaker Matthais Morteval (Karloff) summons his family to his mansion to discuss how his estate will be divided. Recent murders in the nearby hills has a macabre touch, wherein the victims have had their eyes removed makes Matthais suspect that a member of his family is the killer.

MVCOM-HOUSE-OF-EVIL-1

Karloff has an ancestral portrait that looks exactly like him (these old families have strong genes), and Karloff gets to play huge pipe organ. Matthais supposedly suffers a fatal heart attack half way into the film, and shortly thereafter, one by one his greedy relations die. Keeping with the Corman Poe- like feel, the film ends with a huge fire, as Matthais, obviously not dead, plays his final concerto as the walls burn around him. It is quite amazing that the octogenarian actor is working so close to such huge plumes of flames, controlled or not  .

firebug

 

Karloff perhaps passed away before being able to loop dialogue, or the final lines were an afterthought , but they are not his voice.

People who dismiss the Karloff Mexican quartet of films have obviously not seen them, as DANCE OF DEATH was quite entertaining.

FEAR CHAMBER POSTER

TORTURE ZONE – (which in the original titles also claimed to be Poe inspired, though I would say more Lovecraft, like Karloff’s own DIE, MONSTER DIE! 1965 ,A.I.P. ). This one is a bit of a mess, no two ways about it. Psychedelic zooms & colors, and jump cut edits do not make this film any more interesting, and indeed, show how little sense the plot has.  A living rock is discovered within the depths of the earth. Scientist Karl Mantell (Karloff), who spends much of this film either sitting behind his office desk or behind a lab computer table, discovers that the creature feeds on the blood of young women, particularly those who are frightened. Naturally, our loveable scientist and his staff create a fear chamber to terrorize young women who come seeking employment. The rock (no, no that one) starts to grow tentacles, and only then does Mantell seek to stop it.

fearchamber1

Mantell is supposed to be a kindly scientist, but his actions here are in opposition to that appearance. Still, at least, Karloff gets to survive to the end credits. The topless scenes that are edited out of this print were probably shot later, added to try and keep audience attention. Probably one of Karloff’s worst movies, though, as always, he is worth watching.                                                                              .firrreee

Karloff tries to blow up all prints of FEAR CHAMBER .

220px-The_Incredible_Invasion

ALIEN TERROR– Another period piece, this one is another science fiction/horror hybrid. In an 1890s European country, Professor John Mayer (Karloff) is working on a new power source, when a lab accident sends a pulse off into space, attracting the attention of an alien spaceship passing by. The alien comes across a Jack the Ripper style killer and takes over his body. More killings continue as the alien tries to get to the professor’s invention and destroy it. Mayer uses his invention to defeat the killer, and later, when the alien hops into his niece, he uses the machine again to drive it from her. Mayer lets the machine destroy itself and, in the process, burns down his home.c3f80e4ebb33139abba0d67198ef960c

 

The final shot of the surviving cast members watching the house burn has an obvious Karloff stand in facing away from the camera with hair that looks like it was streaked with shoe polish.

A confusing picture, as if two different scripts were dropped into a blender, yet it held one’s interest and it tried to be original. As mentioned, this was Karloff’s last work in a motion picture.karloff_at_03_dvd

An alien Spaceship, lit and designed to look like a Dario Argento sequence !

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CULT OF THE DEAD – On the island of Korbai, Carl Van Molder (Karloff) is a major plantation owner. A police captain comes to Korbai to try and bring order when it is discovered that voodoo is rampant. This is a much more entertaining film than Karloff’s earlier film VOODOO ISLAND (1957, U.A.), which was one of the only roles I felt the great actor seemed to walk through.

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In this film, Karloff seems fully invested in the part and brings his great screen presence to each scene.  The voodoo scenes are well staged, though once again at the end of the film, a voice not Karloff’s is used for the line: “I’m dying! “followed by some sputtering coughs. The picture ends with a big explosion as the hero and heroine escape with their lives. This too was an entertaining piece of cinema fluff and does not deserve all the scorn heaped upon it.

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To sum up, two of the films (DANCE OF DEATH and CULT OF THE DEAD) I would say are quite entertaining, a third (ALIEN TERROR) is just odd enough to hold your interest with a feeling of “WTF?” throughout and only one (TORTURE ZONE) is close to a complete disaster. Karloff is always giving his all in each work, and for that alone these are well worth seeing.

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Are the prints the best? No.  However, unless some deep pocket cinema collector seeks out original negatives, gives them a 2 K scan and restores them, and licenses the Elite and Retromedia commentaries, this VCI set will be the best way of getting affordable copies of these final films by the Master of Horror, Boris Karloff.

 

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Recommended for – Karloff completists. Fans of Mexican Horror. Cult films lovers.

 

-Kevin G Shinnick

 

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BOSS (Kit Parker Blu Ray/DVD combo)

BOSS (Kit Parker Blu Ray/DVD combo)
Dimension ,1975 color. Rated PG .87 mins. Region A/1. Release August 28,2018. Also known as BOSS NIGGER; THE BLACK BOUNTY HUNTER

https://www.amazon.com/Blu-ray-Williamson-DUrville-William-Armstrong/dp/B07C5K53N4/ref=tmm_blu_swatch_0?_encoding=UTF8&qid=&sr=.

If you ever wondered what BLAZING SADDLES(1973,W.B.) might have looked like done as a straightforward film, BOSS should give you an idea.

Fred “The Hammer ” Williamson, the former football star’s initial forays into acting were in such films as M*A*S*H (1970, Fox) as well as Diane Carroll’s boyfriend on T.V.’s JULIA (1968-71, Fox/NBC). The Larry Cohen actioner BLACK CAESAR (1973, AIP) featured him as a man who climbs his way up in the underworld, and THREE THE HARD WAY (1974, A.A.) solidified his status as an action star.

 

 

Williamson decided the first film he would co-produce himself would be based upon 20-page treatment he showed to director Jack Arnold (they had worked together on the Warner Brother actioner BLACK EYE,1974). Dimension Pictures decided to release the film and so production began on a town set left over from the big budget Gene Kelly film THE CHEYENNE SOCIAL CLUB (1970, National General) in Santa Fe New Mexico.

 

 THE CHEYENNE’S SOCIAL CLUB set used for BOSS

Boss (Williamson) and his sidekick Amos (D’Urville Martin, who directed DOLEMITE, Dimension,1975) a former slave, are two bounty hunters who decide to become the law in a small town when they save a woman named Clara Mae (Carmen Hayworth) from a pack of outlaws. On one of the men they killed while saving her they find a letter from the mayor of the town of San Miguel that invites the possessor of the letter to become the new sheriff. The bounty hunters also find out that a man they are tracking, Jed Clayton (cult baddie William Smith, best known for playing Falconetti on the miniseries RICH MAN POOR MAN ,1976, Universal TV, as well as the vampire hunting son in GRAVE OF THE VAMPIRE ,1972, Millenium), also spends time in the town and so they decide to escort Clara Mae there.

Boss gives the letter to the mayor (western great R.G. Armstrong) who is forced to accept them as the new law. They set upon their task with zeal as they confront members of Clayton’s gang, killing and wounding several of them.

 

 

The new laws that the bounty hunters post does not make them popular with the racists town folk, resulting in a few well-dressed town folk (including the bank President) having to pay a fine or a stay in the cell in the sheriff’s office. The “N” word is tossed about as readily as at a trump rally, but the two bounty hunters put their bigoted butts behind bars or make them pay for their words. Not everyone is a racist in town, exemplified by local school marm Miss Pruitt (Barbara Leigh, who later co-starred with William Smith in SEVEN,1979,AIP).

 

Things escalate as they always do with a final showdown between boss and Clayton.

Black westerns were nothing new (going back as least as far as Norman Film Manufacturing Co’s CRIMSON SKULL ,1922), but in the 1960s and 1970s, they went from black only cinemas to mainstream theatres. Films like SGT. RUTLEDGE (1960, WB) began to finally acknowledge that people of color made up a lot of the history of the American West. Indeed, the character of The Lone Ranger may have been inspired by the exploits of the first black Marshall Bass Reeves.

The 1970s though allowed black stars to shine and take the lead in a variety of films, including westerns.

No longer the sidekick, black performers were front and center of the action.

Williamson was born to play the action hero, with his good looks and natural athleticism, one could readily accept him facing down the bad guys. He was wise enough to surround himself with familiar western faces like R.G. Armstrong (PAT GARRETT & BILLY THE KID, 1973.MGM, as well as numerous Sam Peckinpah films) and Don “Red” Barry (star of many Republic Westerns, here playing a bad guy).

The direction by Jack Arnold is effective , using creativity to make his film look as exciting as possible. One example was clever editing when a horse was to run over a small child.

 

BOSS was released previously by VCI /Sprocket Vault /Kit Parker in 2008. This Kit Parker BLU RAY has been given a 1080p resolution release, with an aspect ratio of 2.35:1. The film has been cleaned up, but there are still some color shifts due no doubt from the negative fading. A full restoration for this film probably would have been prohibitively expensive, and the print is quite watchable, and I am sure in much better condition than the worn-out prints shown in many grindhouse and drive in theatres of the period.

The audio is an English 2.0 mono track. It is clear, and the dialogue is easy to understand, along with all the sound effects and music. For the hard of hearing, there is an optional white lettering subtitle in English.

The extras on this Kit Parker BLU RAY release are all ported over from the VCI release.

A CONVERSATION WITH FRED “THE HAMMER” WILLIAMSON with Joel Blumberg. Shot ten years ago, it is amazing that Williamson appears to have hardly aged in the 33 years since he shot the film. He brags that a film he did for Universal ,THAT MAN BOLT (1973), was the first major studio film to have a black action star, forgetting MGM produced SHAFT in 1971. Still, he was among the first, and indeed with his own production company (PO BOY) was able to call the shots that he was the hero and got the girl.

 

A BOSS MEMORY (8 min) with producer/ director & UCLA film prof Myrl A. Schreibman ( he was the associate producer on BOSS).Schreibman got into film working with Jack Arnold .After Arnold had directed BLACK EYE, Arnold brought Schreibman aboard for this film .He talks about their filming the big fight scene between Smith (who as cast because he looked like he would be an equal match in a fight) & Williamson while a dust devil storm raged outside with ho

wling winds.

JACK ARNOLD TRIBUTE by producer Myrl Schreibman– For any fan of 1950s science fiction, Jack Arnold was the go -to guy in the 1950s (CREATURE FROM THE BLACK LAGOON,1954, Universal )before he transitioned to TV on such shows as GILLIGAN’S ISLAND ( 1964-1967,CBS).Schreibman lets us know that Arnold began as actor, but when in the Army ,trained in their film division under famed filmmaker Robert Flaherty(NANOOK OF THE NORTH, 1922,Pathe) .Returning to civilian life, he did a documentary called WITH THESE HANDS (1950 ,ILGWU ) about the Triangle Shirtwaist Fire. The featurette was Oscar nominated, which led to his career at Universalhttps://www.youtube.com/watch?reload=9&v=1OKcJcJ4TfA

 

The disc also has the original theatrical trailer :  https://www.youtube.com/watch?v=fWDTw7IjeiI

 

The BLU RAY also has a reversible cover, using the more politically safe version, or the or original poster and art.

This is a fun action adventure and a good addition to any fans of
Westerns
-Blaxploitation
-Fred Williamson.

Kevin G Shinnick

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DAVID L HEWITT and his GALLERY OF HORROR

 

GALLERY OF HORROR (1967)
director: David L. Hewitt .American General Pictures. color .widescreen. 83 min.

Alternative Titles
Dr. Terror’s Gallery of Horrors
Return from the Past
The Blood Suckers
Cast
Lon Chaney John Carradine Rochelle Hudson Roger Gentry Ron Doyle Karen Joy Vic McGee Ron Brogan Margaret Moore Gray Daniels Mitch Evans Joey Benson

PRESENTING
1 ‘The Witches Clock’
2 ‘King Vampire’
3 ‘Monster Raiders’
4 ‘Spark of Life’
5 ‘Count Alucard’

Here is horror anthology that you may have seen on late night television but thought that you had only imagined it .

Seriously, this film lifts clips from better Roger Corman  films, then inserts them throughout this picture to add production value (think of that- Corman giving production value!!).

 

Stiff acting, staging, accents that make Dick Van Dyke  in MARY POPPINS (Disney,1964) sound like Laurence Olivier ,the barest of sets ,often just a wall flat with windows ,or a darkened sound stage street with a lamp, helps give this film an impoverished look . Not to the level of an Ed Wood or Andy Milligan , but as off beat in its own peculiar way .

David L. Hewitt ,the auteur 0f all this, was the man behind THE WIZARD OF MARS  (John Carradine again)MONSTERS CRASH THE PAJAMA PARTY(both 1965) JOURNEY TO THE CENTER OF TIME(1967 ),THE MIGHTY GORGA (1969 );all films with special (de)fects ,and the non fantasy The Girls from Thunder Strip in 1970.

 

He began as a stage magician ,until he met Forrest J Ackerman .  He had an idea for a film script, and Ackerman put him in contact with science fiction writer and filmmaker Ib Melchior (AIP’s 1959 ANGRY RED PLANET ,and the screenplay for the Danish REPTILICUS ,AIP 1961).  Melchior would later pen the short story “The Racer”which would be adapted to the screen as DEATH RACE 2000(New World,1975).

Melchior and Hewitt worked on reworking the ambitious story (originally known as “The Trap”) and shot some test footage to convince investors that they could make the film on a modest budget.  Hewitt was able to create several effects that could be shot live on set, as they were variations of several magician’s tricks. Forrest  J Ackerman even gets a nice cameo doing one of the tricks.

The film became THE TIME TRAVELLERS (AIP,1964),an ambitious tale of time paradoxes and the future,shot on a budget of $250,000.

Trying to go it alone, Hewitt created a film that ran only 33 minutes. Not wishing to lose his investment, he created a stage show involving magic tricks ,performers and people in costumes (probably some poorly underpaid usher) who would run through the theatre onto the stage. All this would then  seque into the film . The result was MONSTERS CRASH THE PAJAMA PARTY (1965).https://www.youtube.com/watch?v=2crI6OdUOA0

 

Hewitt’s next picture was THE WIZARD OF MARS . Shot on a budget of $33,000 , the film was a science fiction retworking of  Wizard Of Oz set upon the Red Planet. John Carradine worked for Hewitt for the first time, shot against a blue screen as a transparent figure appearing against a star field . The money was raised by a group of vending machine operators . Since it was a cash business, the operators looked for ways to invest ,and felt that Hewitt was worth the risk.

THE WIZARD OF MARS was edited by Tom Graeff . If the name is familiar to you, he was the mad “genius ” behind 1959’s TEENAGERS FROM OUTER SPACE (W.B.). This was Graeff’s last known film work, with him committing suicide in 1970 .

T.W.O.M was an ambitious film filmed with effects, but it had no one willing to distribute it.  The investors, having no experience in film at all, started their own distribution company ,American General Pictures.

Knowing they did not have the resources to keep producing films, they picked up other movies that had limited release or had been sitting upon the shelves. One of the films they picked up was SPIDER BABY . The bizarre but original Jack Hill film starring Lon Chaney Jr  had been shot in 1964 , but not released until 1967 . Being in black and white made it a harder sell, even when changing the name often to The Liver EatersAttack of the Liver EatersCannibal Orgy, and The Maddest Story Ever Told.

The same year Hewitt created GALLERY OF HORROR ,he also made JOURNEY TO THE CENTER OF TIME . Very talkative ,with some effects lifted from other films, Scott Brady took on the John Carradine type role in this (was Carradine busy filming HILLBILLIES IN THE HAUNTED HOUSE??)  . Antony Eisley appears as the nominal hero.The film seems like a variation of the superior THE TIME TRAVELLERS.

As embarassing as some of these films were , none can reach the levels of ineptitude that is THE MIGHTY GORGA (1969).Poor Scott Brady and Anthony Eisley both appear in this jawdroppingly bad film. Long ago SNL did a sketch about dinosaurs, using purposely fake effects. It was hysterical.

 

Here, you feel that the team was serious about their use of force perspective toy dinosaurs and third rate gorilla costume work. How third rate?Hewitt, who constructed and wore the suit, never bothered creating the lower half .

American General folded after one of the partners disappeared and another partner died from a heart attack. The widow of the third partner felt it wasn’t worth the headache, and let the company fold in 1970.   American General did not make a lot of prints of their films, at best 35  copies for the entire country ,and so they were often played until they were worn so badly that they were unscreenable.

Wizard Of Mars Model work

After this, Hewitt became an effects man for hire ,ironically with some of his own space ship footage from JOURNEY TO THE CENTER OF TIME ending up in the I.I. patchwork film HORROR OF THE BLOOD MONSTERS (1970).

 

The 79 year old Hewitt (born December ,1939) is still with us, having worked on effects as late as 2003 on INSPECTOR GADGET 2 for Disney.

 

However, back to the “gallery ” :

John Carradine, in tux, is the host for several tales ,bringing to mind Boris Karloff in the vastly superior  BLACK SABBATH (AIP,1963). DR TERRORS HOUSE OF HORRORS (Amicus/Paramount,1965) was also big hit  ,which is why one of the alternate titles for this film attached DR TERROR’s for one of its releases.

Lon Chaney appears in a tale wherein he references Dr Frankenstein . Chaney is a teaching professor who ,with the aid of two med students, revive a corpse. It must have been nice for him not to be the one on the slab for once. Oh, wait…

Though top billed, Chaney could have shot his whole part in a day .

Carradine probably shot his narrator role reading off of cue cards in front of a blue screen, with his part in the first story, THE WITCHES CLOCK, probably taking all of an afternoon.

 

Most of the rest of the cast seem to declaim their lines as if trying to reach the back of a theatre .

The sound at times is very echoey, meaning that sound proofing was not added to the studio wherein they filmed.

That it felt like inferior CREEPY comics stories may be because one of the screenwriters was Russ Jones,founder of that magazine. He had wanted to film to feel like a comic book, but the distributors and Hewitt vetoed that idea,except for the intentional splash wipes .Audiences would have to wait until CREEPSHOW (Laurel,1982).

The music and sound effects are stock ,coming from a company called COMMERCIAL SOUND RECORDERS ,which sound like a bunch of fans in a basement full of machines .

Wade Williams released a DVD of the film from a print that he owned . That the film looks as good as it does means it was not shown as often as many other copies of the title were .G.O.H. astonishly shot widescreen  ( 2.35:1 )and in color ,which added to the budget perhaps but somehow makes the picture as a whole  look a whole lot cheaper. http://www.wadewilliamscollection.com/ft-haunted.html 

I didn’t go into great detail about the film to allow you to “experience”it for yourself .

This film is Screaming out for a MST3K /Rifftrax treatment.

Kevin G Shinnick

 

ps- some information on David Hewitt, American General, and their films was taken from Fred Olen Ray‘s wonderful 1991 book from MacFarland : THE NEW POVERTY ROW  .https://mcfarlandbooks.com/product/the-new-poverty-row/

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Andy Milligan Double Feature (Alpha DVD) Body Beneath/Guru

Andy Milligan Double Feature: The Body Beneath (1969)74 min. / Guru, The Mad Monk (1970) 56 min. Color. $7.98 single disc DVD.Region “0”

https://www.oldies.com/product-view/8028D.html

Andy Milligan (Feb 12,1929- June 3,1991) was an interesting eccentric.
An avante garde theatre director. Born in the Midwest, his early life was troubled by an abusive alcoholic mother.

After serving four years in the Navy, he was discharged and move to NYC to run a dress shop. During that period, he became involved in the genesis of the original Off Off Broadway theatre movement at Café Cino and La Mama. He got involved with directing, writing, and even designing and creating the costumes for his productions. Some of them were so quickly put together that the costumes practically fell apart as actors exited the small stages.

It was a time of great freedom and creativity, though very little financial reward.

To make a bit of extra money, he did appear in some early television as an actor, though how many he appeared in is not quite clear (Imdb lists 4 shows, but not what he played in them).

The greater though secretive freedoms of homosexuality in New York City also allowed him to explore that aspect of his life.

Andy Milligan  

This led him into creating a 30-minute short called VAPORS (1965). Milligan assumed a lot of alias but seemed to have done almost everything but act to get this film made. It plays like a one act by writer Hope Stansbury (a member of his film family before and behind the camera). It is a sad tale of sex and a failure to connect with others (though only a male male kiss is shown, and a character opening his robe walking towards the camera is shown. In most prints, there is a black line across the nudity.) .

Like most of his films, the film deals with rejects, degeneracy, and a palpable gloom. VAPORS is probably one of his most thoughtful film and shows the direction that he could have gone.

Milligan moved to Staten Island to a large house where he would shoot a large portion of his NYC area made projects. As always, he handled almost every job, probably including the catering. His budgets were never very large, but his ambitions were.

Sadly, for him, he got involved with distributors who took advantage of him, so that he rarely saw any real money for his projects.

He ran a hotel in Staten Island (which probably provided some of his funding) as well as running a theater on West 39th Street for several years, from 1979 until he left NYC in 1985.

His move to California only produced three more films as well as briefly running a dress shop and another theatre company. Nearly penniless, ill health took him in 1991.

Since the early day of video, Milligan’s films have been offered on tape. The transfer was often taken from prints that were dupes. Milligan shot often on 16mm, with his films blown up to 35mm. The duplicates seem to have been reductions from 35mm to 16mm again, meaning the films had been through several transfers.

Framing was off, and grain was often a major problem, as well as color shifts and sound warbling. Mind you, these may have existed in the originals, but so many of his film negatives have disappeared (indeed many of his films have vanished as well, again due to shady distributors).

Having worked in a film storage house, it is amazing how films can be mislabeled and put within the wrong film cans. Perhaps one day we will find a cache of his original prints as well as his lost films and be better able to judge his works.

 

As I was researching this piece, I discovered that someone had posted a print of one of his “lost “sexploitation films, COMPASS ROSE (1967) https://youtu.be/00AS-GaLe78 . I reached out to playwright Robert Patrick, and identified the opening bedroom set as being one for a Landford Wilson play at Caffe Cino ! Just a little more info on this never released film .

 

That said, now to this Alpha DVD double feature. The prints are worn, and the sound has a bit of warble in places. That said, they are in better condition than copies of these films that I have seen in the past. The scratches on the film also increase the grindhouse feel of the theatres in which these films were unspooled.

GURU, THE MAD MONK was released September 1970. The film was shot for an incredibly small $11,000. PINK FLAMINGOS (1972) was produced for only $10,000, but that was a modern-day project. GURU was an ambitious period piece, which required several costumed characters, as well as furniture, props and locations that would suggest the time.

 

The main part of the filming took place around and in St. Peter’s Episcopal Church ,346 W 20th St in NYC. The Church, established in 1832 on land donated by, among others, Clement Clarke Moore, author of “A Visit From St. Nicholas/The Night Before Christmas”.

 

The Church, which is still a major part of the Chelsea Community to this day, has dedicated outreach programs, food banks, and permit a lot of performances upon the property.

Nothing, I think, was quite like the craziness of GURU THE MAD MONK. One wonders what the director did to convince them to film this hysterical historical within these sacred walls?

The film was obviously shot with haste, with some shots carefully composed (a nice travelling shot is quite impressive within the Church) as well as many obvious one take blunders that remain in the final print (an actress stumbles upon her line, a character steps upon the train of Guru, a loud rip being heard. Nothing is made of this, so it appears to be unintentional. A light switch is quite visible in one shot in this medieval tale, as well as the title card for the screenplay is misspelled!

Some of the costumes are quite good, some, like the dress of the leading lady, are an obvious 1960s sun dress with alterations. The makeup is never blended, with one character playing an older man wearing obvious white and blue make up, while poor Igor, the hunchback, suffers most from non-blended applications to his face.

Producer M.A. Issacs ( whose initial form the first letters of Maipix Organization in what seems there only attempt at producing, the film later being released by Nova International Productions)seems to have suggested the story to Milligan, perhaps inspired by Hammer’s RASPUTIN THE MAD MONK (Fox, 1966).

Milligan upgraded his equipment on this project to 35mm, which may explain why this film is a bit slicker looking than a lot of his earlier projects. However, it is also more expensive film stock, so even using short ends (left over unexposed film sold back to the labs from other productions), it increased the costs on his already tiny budget. Milligan, later in life, felt that this was his worst film. While it is not a classic, it is certainly far from his worst.

Set upon the fictitious island of Mortavia during the Middle Ages, a young woman named Nadja (Judith Israel, her only film credit) is imprisoned upon a false charge of having killed her baby.

Everything seems to center around the Lost Souls Church of Mortavia, which seems to contain the prison as well as the Church wherein sentencing is carried out.

Carl (a very monotonic Paul Lieber, who went on to a long successful career on television and on stage in L.A., winning 5 Dramalogue Awards and an L.A. Weekly Award for his performances), her jailer, is smitten with her, and seeks to save her.

He appeals to FATHER (not a mad monk as the title suggests) Guru, the religious leader. Guru is played by actor Neil Flanagan, who also appeared in Milligan’s SEEDS (Aquarian,1968,) and TORTURE DUNGEON (Constitution,1970, an earlier “period” film that was shot on 16mm with a $15,000 budget).

Flanagan was a staple of the Village theater scene, winning an Obie in 1967 for his starring role as an aging drag queen in Lanford Wilson’s hit ‘THE MADNESS OF LADY BRIGHT” and a second Obie in 1976 for his contributions to over 10 years of Off Off-Broadway Theatre. He died from AIDS in 1986 at age 52. He relishes his plummy role in this film and plays it to the hilt.

 

Guru makes a deal with Carl to save the girl, but it involves Carl having to help finance the Lost Souls Church by a bit of body snatching. In exchange, Guru will keep Nadja hidden until his three-month morbid indenture is over.

Carl is sent to see Olga (Jacqueline Webb) who will provide a potion to make it appear that Nadja is dead (a la Juliet in Romeo & Juliet). Olga also requires a price, which is to supply human blood from the executed for her experiments. Carl reluctantly agrees, and Olga seals the deal by pricking his palm with a needle. It is almost laughable when he lifts his hand, for it is drenched in blood!

 


We see various accused brought before Guru within the Church, wherein he gives them a blessing and then brands them before they are dragged away. Igor (Jack Spencer) the deformed hunchback, stirs the fire and hands over the torture instrument. When Nadja is brought before him, he slips the drug into some sacrificial wine, and gives it to the young woman.

The medicinal works and Nadja is buried, only to be dug up by Carl, and hidden within the church. Carl is really not too observant, as both the mad mon…er.. Priest and Olga have plans for the young woman . Guru and Olga are, it seems bumping uglies, and enjoying torturing and killing others from Milligan’s stock company. Olga, it seems, doesn’t want the blood for experiments, but for herself, as, it is revealed, that she is a vampire! One thing about a Milligan film, is sometimes things can appear out of nowhere.

Next up on the disc is THE BODY BENEATH. In 1968, Milligan had gone to England after making a multi picture deal with producer Leslie Elliot. Eliot had been involved with producing the MGM film THE LIQUIDATORS (1965) but  he also ran the privateThe Compton Cinema), and ,having released some of Milligan‘s earlier work in the U.K.,  he may have been on the lookout for inexpensive product that he would own.


Their first production was NIGHTBIRDS (Cinemedia, released in 1970). The dark kitchen sink drama barely got a release and vanished for years. Thanks to Nicolas Winding Refn (director of NEON DEMON, Broad Green 2016) and the BFI, the film was been restored and released to DVD in England in 2013, where it has been getting mixed reviews but better than one often associates with Milligan’s work.

Refn is obsessed with Milligan’s work, buying up prints from various sources, including those in the private collection of author Jimmy McDonough, who wrote the must have biography of the director, THE GHASTLY ONE (Chicago Review Press,1st Edition, October 1,2001). For more on the fascination by the one director for the other, read
https://www.theguardian.com/film/filmblog/2012/jun/14/obsession-andy-milligan-cult-movies .

For some reason, Leslie Eliot dissolved the partnership during the making of one of the remaining films (no doubt the director’s caustic personality) , and Milligan was forced to deal once again with William Mishkin.

Mishkin and his Constellation Films were known mostly for cheap nudies and sexploitation films. He was willing to help distribute films by Milligan because even if they just played the NYC grind circuit he could make his money back. Unfortunately, distributors could and would sublease titles out to other regional distributors, so filmmakers would be at the mercy of the original distributors for a full accounting. Neglect by the distributors is also how many of these and other films were lost (it is said that Mishkin’s son destroyed the films rather than pay for film storage fees). Is it any wonder after a lifetime of mistreatment that Milligan’s negative world view seeped so heavily into his work?

 

It is doubtful that Milligan ever saw more than what he spent on making his films, and, like poor Ed Wood, did not retain the rights to his own work. Mishkin had backs Milligan’s sexploiter THE PROMISCUOUS SEX (1967, “Made in Greenwich Village! “  for about $10,000, returning a profit over 13 times its budget), and so he was willing to back the four remaining British films, if they were exploitive.

The results were BLOODTHIRSTY BUTCHERS (released January 1970,on a whopping $18,000 budget, with certain scenes filmed when Milligan returned to the U.S.),THE RATS ARE COMING, THE WEREWOLVES ARE HERE (released in May,1972, again an $18,000 budget ,with some footage shot in Staten Island to complete /pad the film after Milligan returned to the U.S. in 1970), THE MAN WITH TWO HEADS (released June 1972,shot on a “massive” $20,000 budget) ,and the film we are reviewing here THE BODY BENEATH (released September, 1970,again with a budget of $20,000 estimated).

THE BODY BENEATH is one of Milligan’s most uniformly acted production. There are less overly over the top histronics, though still many plummy performances. Like all his British films, this was shot with his 16mm Auricon camera. These cameras were popular with journalists as they were a single system machine that recorded sound DIRECTLY to the optical track, thus eliminating the need for a separate audio recorder. A major liability was the camera were parallax view, meaning you were not looking directly through the lens, but what you saw from your viewfinder was slightly off from what was really being filmed.

In a wide shot, this is not normally a problem, but Milligan’s style were tight shots to cover perhaps how little set decoration there was in the scene, giving the framing an often claustrophic effect. Plus, one of the characters might be barely in the shot due to the framing problem combined with the parallel view. Retakes, alas, would cost too much.

     Auricon 16mm camera rig used by reporter Tony Hamilton not Milligan

The film begins with Anna Ford (Susan Clark,NOT the Canadian actress of the same name who played Mary Kelly in MURDER BY DECREE ,Avco,1979. This British actress seemed to have done mostly minor roles, with this being her largest part.) going to place flowers at her mother’s grave just as the graveyard is about to close. Never a good thing, as Barbra (Judith O’Dea) found out in NIGHT OF THE LIVING DEAD(Continental,1968).

Moments after the caretaker alerts her to the closure, Anna finds herself surrounded by several bluish tinged blonde women. “Hellloooo” says one with an almost childlike quality. This is a bit chilling, but the print has very warbly sound at this point (though I don’t know if any other print that I have seen is any better, so it may have been in the original recording and Milligan never bothered to redub it later.).

 


Just a side note: the original poster declared that the film was “filmed in the graveyards of England”. This was probably to make ticket buyers assume they were going to see a Hammer or Amicus Film. The one thing these films shared was filming in Highgate Cemetery, which was also used in Hammer’s TASTE THE BLOOD OF DRACULA (1970) and AmicusTALES FROM THE CRYPT (1972) and FROM BEYOND THE GRAVE(1973).

 

      Highgate today and as it appears in TASTE THE BLOOD OF DRACULA

 

 

Back to this film. Graham Ford (Colin Gordon.I think IMDB is mistaking him for another actor with the same name so I cannot tell what his credits are.) is awaiting his wife’s return when he is visited by the Reverend Alexander Ford (Gavin Reed,who had small roles in films like CARRY ON LOVING,Rank ,1969, relished his leading role here ) and his wife, Alicia (Susan Heard,who played a maid in Milligan’s NIGHTBIRDS as well as various crew roles on his other  U.K. films .).

 

                                          IMDB : not the same actor who appeared in this film !


Gavin Reed is delightful, making Milligan’s overwrought writing roll easily off his tongue as if he is in an Oscar Wilde play (who is referenced during their exchange), giving the part some much needed wit. His talk of the family genealogy reminds one of Ernest Thesiger in THE OLD DARK HOUSE (Universal, 1932). Graham we discover is Canadian and finds that the Reverend and his wife are freshly arrived from Ireland to re-open All Souls Church (a satellite of the LOST Souls church from GURU?) and he has a lease on Carfax Abbey (a clue for all you Dracula fans) next door. To put a point on it, Graham says that it is right next to Highgate Cemetery. In real life Carfax is near Whitby, nearly 264 miles from London.

 

Anna comes home but reacts startled by seeing the Reverend. We abruptly cut to another couple, Susan Ford (Jackie Skavellis,who also appeared in Milligan’s THE RATS ARE COMING….) and her boyfriend Paul (Richmond Ross,his only listed film credit). We find out that Susan is pregnant and that she is going to Carfax to meet a relative who recently contacted her, namely the Reverend.

We are introduced to one final relative, Candace Ford (Emma Jones,in her only major role). As she is about to leave her home, her maid answers the door a hunchback, Spool (Berwick Kaler ,who appeared in all of Milligan’s British films, and who since 1981 has appeared as The Grand Dame in York Theatre’s Royal!He has little recollection of his three day’s work on this, other than Milligan wanting him to stoop more) hands her flowers. When she turns, one of the blue faced woman is behind her. She sends the maid to deliver the flowers and steal some blood from Candace by pricking her finger.

Gavin Reed discusses with Berwick Kaler how to stoop lower

 

      Berwick today,in a costume that Milligan would have loved!

The basic plot unfolds that the Ford family line have been vampires, but they need to replenish. Thus, the gathering of the family to restore the bloodline with Susan popping out vampire babies while the other relatives supplying blood.

There is a lot of shaky camera work that is meant to add style but instead induces motion sickness, and many scenes are very ill lit. Gore is low in this film, though a second maid Jessie (Felicity Sentence,who played First Girl in NIGHTBIRDS) ends up with knitting needles to the eyes and dragged off by Spool, while the Reverend seems to need leeches applied to him to keep his blood pressure down, and poor Spool, perhaps the most sympathetic character, is cruelly crucified by the Reverend.

At the end of the film, there is a vampire gathering that shows that Milligan had seen several of Roger Corman’s films, particularly aping the Vaseline smeared lens that Corman employed for his dream sequences. While giving the scene an arty effect, it also perhaps helped hide the improvisational nature of the costumes, which often look they were made from grandma’s sofa!

      Hazel Court  hazy in Masque Of The Red Death

 Milligan’s attempt 

No one ever addresses why many of the vampires are blue skinned, while the Reverend is not (a question, though, that also comes be questioned about the superior RETURN OF COUNT YORGA, A.I.P.1971, wherein his brides look the worse for wear while he looks handsome, at least until he attacks).

I thought having a vampire as a priest was a unique idea, which allowed Milligan to express his feelings about religion through the character. However, it was pointed out to me that the title character in VARNEY THE VAMPIRE by James Malcolm Rymer and Thomas Peckett Prest (serialized beginning in 1845) posed as a monk (but was he mad??)at one point and he told his story to a sympathetic priest, before he hurled himself into a volcano . Varney’s subtitle would have fit a Milligan film by the way,  FEAST OF BLOOD.

Neil, are you wearing Grandma ‘s curtains? ” ” No, Ma….”

Andy Milligan’s films , unlike Ed Wood’s , are hard for many to take. One cannot certainly warm up to them as one does with Wood.

Wood, no matter how inept his films, had a certain positiveness to them, a definite “Let Me Entertain You” sincerity, no matter how many wobbly cardboard headstones one saw on display.


Milligan was a more complex individual, dealing with a lot of anger issues, a rage against the world, that he used his theatre work and his films to lash out at what he perceived a cruel world. From all he endured in his life, one is not surprised, but his cruel streak still emerges.

A few of his films have some animal torture which simply pure sadism is (THE RATS ARE COMING had Milligan himself mutilating a poor mouse in the Staten Island shot footage, as well as his killing a pigeon in NIGHTBIRDS) that cannot be condoned.

 

Luckily none of that is in these two films (just the poor abused actors!).

I cannot say that I find his films entertaining, but that said, they are hypnotically fascinating. Had he more money, a proper crew and support, one wonders what he might have accomplished? Maybe it would have tamed the anger in him. Perhaps he would have eased from the horror films into more films like NIGHTBIRDS and VAPORS, which seem to be where his heart truly was.


What we are left with is a collection of odd films that seem to become more and more a time capsule of what grindhouse truly was.

This ALPHA dual feature could have been called the Andy Milligan Deliver Us from Religion Co bill, and it is nice to get the two films on one affordable disc to recreate the original theatre release from Nova.

If you are curious about grindhouse, microbudget, or seeing what all the cult buzz is about Andy Milligan, then definitely pick up this release.

Kevin G Shinnick

 

 

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ATTACK OF THE KILLER TOMATOES/D.O.A.-A RIGHT OF PASSAGE special editions Blu Rays from MVD REWIND

ATTACK OF THE KILLER TOMATOES (1978) (MVD Rewind) 2-disc special edition Blu Ray/DVD combo. 87 minutes color.

https://www.amazon.com/Attack-Killer-Tomatoes-Special-Blu-ray/dp/B075MYG9XC

Back in the 1970s and 80s, it was possible for independent films to get theatrical releases. A lot of these films would play their one week run and then disappear, unless they would end up as second features later for another film, or, perhaps a sale to television.

 

With the advent of the home video market, people were able to program their own films, whenever they wanted to view a film. Magnetic Video was one of the first companies to license titles (most were from major studios) and offer them for sale to consumers. The high mark up (many were $100) meant that people were more likely to rent than purchase, thus giving rise to video rental stores.

The offerings available on Beta (then VHS) were limited, due to studios wishing to prevent bootlegging of their titles. Smaller companies lept into fill the void for demanding renters (as well as the adult video market, which drove a lot of business for the video marketplace, but that is a different part of the story).

Suddenly, older public domain titles were appearing on store shelves, along with many independent films that had pretty much vanished after their original run. One of those indie labels was Media Home Entertainment, started in 1978 by filmmaker Charles Band. In 1981, one of the titles the company released was ATTACK OF THE KILLER TOMATOES (Four Square Productions).

ATTACK OF THE KILLER TOMATOES, unlike a lot of independent films, had a bit of name recognition. Johnny Carson, then at the height of his popularity as the star of THE TONIGHT SHOW, had mentioned the film on the program, and interviewed star Jack Riley (who at the time was known for his role in tv’s THE BOB NEWHART SHOW, MTM Productions) who survived an accidental helicopter crash that ended up in the final cut of the film.

 

It was one of the first films that I ever owned on video, and thus it has fond memories for me.

Who would have thought that the film would spawn three sequels (so far), a video game, comics, a novel, and an animated television series?

For the five people who have never heard of the film, the film is a spoof inspired by the bad horror films that the filmmakers grew up loving.

A series of mysterious killings (including one that spoofs JAWS ,Universal,1975) baffle everyone, until it is discovered that Tomatoes have become sentient and are murdering people in various ways. At one point, one knocks a helicopter down, causing it to crash. They say tomatoes can’t fly and the response is well tomatoes cannot kill people either!

Finally, it is discovered that an obnoxious teen song “Puberty Love” causes the members of the nightshade family to flee in horror. People size their chance and smash and mash them, until they are vanquished. However, just at the end, we see that the carrots are now preparing to arise….

The film is like the big budget spoof THE BIG BUS (Paramount,1976), which exaggerates and satirizes their respective genres (THE BIG BUS spoofs the popular “disaster films” of the 1970s) and were the forerunners of the everything AND the kitchen sink humor of AIRPLANE (Paramount,1980).

A.O.T.K.T. was inspired by a short film that the filmmakers had done years earlier and raised the funds to expand on the simple premise into a full-length feature. That they were able to raise between $90,000 -$100,000 is an amazing feat.

At times, though, the film feels a bit padded to fill it’s running time. Indeed, some of the best scenes are recreations of those that appeared in the original Super 8 short (plus the astounding helicopter accident of course). Also, a major drag is the use of many non-professionals in featured roles. Working with people like Jack Riley shows how uneven the performances are.

That said, the film hits the mark more often than misses, which is more than many bigger budgeted films can claim (I’m looking at you, VAMPIRE ACADEMY (Weinstein,2014, $30 million budget). Indeed, some of their throwaway jokes may be missed by the non-genre fan, but truly tickle the horror aficionado. My personal favorite is the dubbed Japanese scientist, which no one in the scene notices or comments upon!

The film’s fame even extends to being referenced in a foodie festival! 

 

Now, MVD/REWIND has given the film the deluxe treatment, giving it the kind of extras one would expect and find on the DUNKIRK (WB,2017) blu ray release.

First off, MVD REWIND has given the film a 4k remastering, with a hi-def (1080p) Blu-Ray as well as a standard definition of the film for DVD. The aspect ratio is 1.85.1.

Pulling out an old vhs copy shows how much the film has been given a facelift. Gone is the heavy grain that made me always think that it had been shot on 16mm and blown up to 35mm.

Now you can see the sharpness of the original 35mm photography, which is impressive for an independent production. HALLOWEEN (Compass,1978) also was shot in 35mm (as well as Panavision), which also elevated it from many indie films of the period.

Grain remains in some of the effects sequences, but that is from the original negative.

The sound is presented in LPCM 2.0 mono that is clean of pops and hisses. Some of the dialogue is low, but that is due to the original recording rather than any loss in the mix. The music does not drown out any of the dialogue or effects, which is a good or bad thing, depending upon how much of a fan that you are of the film.

We have a tomato basket full of extras for this release though I am unsure of how many of these are ported over from the long out of print Rhino 25th Anniversary .

There is a running audio commentary from the original team of John DeBello, Steve Peace, and Costa Dillon. The team recall their long friendship their original friendship that endures, and the process of putting together this cult feature. some 38 years ago.

There are three scenes that were deleted and while it is interesting to see these (which are in rougher form than the rest of the release), they would have added nothing to the film and in fact might have slowed the picture down.

LEGACY OF A LEGEND -is a collection of interviews with the team who created the original, as well as John Astin (who would star in the three sequels as well as provide his voice to the animated series), film critic Kevin Thomas and fan Bruce Vilanch, among others.

CRASH AND BURN is a brief discussion of the accidental helicopter crash, how the secondary camera kept rolling while the first shut off as the crash began, and how the actors came up with a way to work the incident into the plot, and work in one of the funniest lines about flying tomatoes.


FAMOUS FOUL– the San Diego Chicken reminiscences how he ended up in the film.


KILLER TOMATOMANIA – a man on the street interview with people walking along to see what they know of the film.

WHERE ARE THEY NOW– This was to me quite interesting. Many returned to their regular jobs ,but Steve Pearce went on to be a Democratic Senator in California (not to be confused with the New Mexico G.O.P. Congressman, who as far as I know, has never met a killer tomato , that the film had the first appearance of Dana Ashbrook , now best known for playing Bobby Briggs in the various incarnations of TWIN PEAKS, made his debut as an uncredited boy in boat ,and that the teenage vocalist of “Puberty Lovehttps://www.youtube.com/watch?v=jViBFzytVXo is drummer Matt Cameron (Soundgarden ,The Smashing Pumpkins, Pearl Jam https://www.youtube.com/watch?v=yO2FzVvA3TQ )!

WE TOLD YOU SO– a spoof investigation into killer tomato conspiracies.

    An actual NY POST cover also referenced the film for a salmonella scare!

SLATED FOR SUCCESS -a short bit about the original film’s slate woman.

ATTACK OF THE KILLER TOMATOES” – the original super 8mm short film. Running about 18 minutes, it begins with the scene of the tomato coming out of the sink and killing the woman, and several other major scenes that were later recreated in the feature. There is even the model tank sequence with miniature houses, and the surprise ending. There is also a commentary track by the original team.


GONE WITH THE BABUSULAND– another super 8mm short by the team. This one is over 32 minutes long but seems more self-indulgent. Having done my own super 8mm shorts, sometimes improv would bring out unexpected brilliance, and other times, well, editing comes in handy. A silent film made for a Kodak Film Festival  (which yours truly also submitted films) this also comes with commentary by the original team.

The original theatrical trailer.

Production Design Photo Gallery -six images.


Radio spots– these play over images from the film.

Vintage Retro Video Store Style Slipcover /O -Card (first pressing only). -For those old enough to remember the joy of discovering films lined along the video shelves, this was a nice touch.

Collectible Poster– to replace your long-tattered poster that you got when the video store was done with it.

In a press release, MVD Entertainment Group’s Eric D. Wilkinson , in charge of the MVD Rewind Collection , explains, “I’m a dedicated collector of movies on disc, with over 8,000 plus discs in my collection and I want collectors to know that the MVD Rewind Collection Blu-ray + DVD sets are being overseen by a collector and I will do my best to create the kind of releases you will look forward to adding to your collection every month.”

The other inaugural release from MVD REWIND is

D.O.A.: A Right of Passage Special Edition, 2-Disc Special Edition
https://www.amazon.com/D-Passage-2-Disc-Special-Blu-ray/dp/B075DSLWFS

D.O.A.: A RITE OF PASSAGE is a raw gritty Super 8 documentary about the 1978 Sex Pistols tour of the U.S. that ended with the group breaking up, practically all captured on camera as it happened. Mixed into the mix is footage of other bands like The Dead Boys, The Rich Kids, and others, plus some The Clash and Iggy Pop music tossed into the mix.

This title has long been unavailable, so for fans of Punk Music, this is a must have.

The film has been cleaned up as much as possible, but its graininess also feels right for the subject matter. It is a great time capsule of the period, though seeing Sid Vicious and girlfriend Nancy Spungen sends a chill down the spine (Spungen died in 1978 from a stab wound to the stomach. Sid was charged with the crime but died from a drug overdose before he could be tried. The Hotel Chelsea, where it happened, has been closed since 2011, but is scheduled to re-open this year).

Besides the feature (on separate Blu Ray and DVD discs), they have also added a feature length documentary on the making of the feature, with new interviews with people who were involved with the original production, as well as Sex Pistol Historian Mick O’Shea, and Ultravox lead singer Midge Ure.

A 12-page booklet by John Holmstrom, founding editor of PUNK magazine.

A photo Gallery

Reversible Cover Artwork

A collectible two-sided poster (I am going to need more wall space)

The original Theatrical Trailer.

 

In a press release, MVD Entertainment Group’s Eric D. Wilkinson , in charge of the MVD Rewind Collection , explains, “I’m a dedicated collector of movies on disc, with over 8,000 plus discs in my collection and I want collectors to know that the MVD Rewind Collection Blu-ray + DVD sets are being overseen by a collector and I will do my best to create the kind of releases you will look forward to adding to your collection every month.”

Should MVD REWIND  can continue the quality of these two-disc sets, the company  will be the Criterion of B Movies and Obscure Titles to watch out for.

Recommended.

Kevin G Shinnick

For more tomatoes merchandising go to
https://killertomatoes.com/

 

The Master of Disguise from ATTACK OF THE KILLER TOMATOES  .

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