1970s, AGFA, Blu Ray, film, independent, nudity, obscure, rare, review, sex, SOMETHING WEIRD, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized, weird

BAT PUSSY(Blu ray) AGFA/SOMETHING WEIRD

BAT PUSSY (1970?) (AGFA/SOMETHING WEIRD BLU RAY) Color 50 minutes plus second feature ROBOT LOVE SLAVES (54 Minutes ,1971, color) $21.99 S.R.P http://www.diabolikdvd.com/product/bat-pussy-agfa-blu-ray/

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Many years ago, I recall a book on the newsstand called HOW TO MAKE YOUR OWN PORNOGRAPHIC MOVIE. It was a how to do it yourself instruction book about editing, sound, camerawork- a basic how to make film book, only about x rated filmmaking.

Watching BAT PUSSY, I felt that the nameless creators of this film had the book on hand, but were missing several pages. This may have been the first porn parody of Batman, though it is far from a good one.

Anyone who tells you that Ed Wood was the world’s worst filmmaker needs to apologize after they see this film.

That is not to say the film is without interest. Quite the contrary. You stare but cannot look away. It is perhaps the most unsexy sex film ever made, and certainly one of the weirdest.

 

It is as if two characters from a local production of WHO’S AFRAID OF VIRGINIA WOOLF decided to carry on their haranguing from the stage to the bedroom. Only here, they are not George and Martha, but Buddy (who looks like an out of shape Bo Hopkins) and Sam (a freckled redhead with a bouffant that would make the B -52’s envious).

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(reading? Nahh,just lookin’ at the pictures! )

 

Buddy is reading SCREW (the issue is from 1970, so that is a possible date for when this film was shot over the course of an afternoon.) as Sam lays upon their bed. Buddy decides that they should try some of the stuff he sees in the paper, and so they go at it. Poorly. Buddy is someone for whom Viagra would come in handy some twenty odd years later. No matter what, his Little Buddy refuses to awaken.

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 (The Burton & Taylor of BAT PUSSY )

 

The un-erotic oral and fingering sex session leads to a lot of swearing and insults to and about each other. You wonder for whom was this film meant to appeal? Just when we feel that we are trapped in a cell of Hell forever with these two, we cut to another location (it’s almost a shock that we escape, however briefly.).

 

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A nightie clad woman lays in a dingy cellar that a scrawled BAT PUSSY HEADQUARTERS on ruled line paper identifies as -well, Bat Pussy’s headquarters! The bored woman senses sex is happening elsewhere and decides she must get there. Every expense is spared on this one take wonder, and on the table in front of her is a paper cup, a can of soda, and some furniture polish spray left upon the table. That’s as far as they go with set dressing.

 

She gets up and whips off her nightie (getting it caught around her head while trying to pull it up) and finds a makeshift costume, transforming herself into BAT PUSSY!

Quick, to the Hopper Ball!

What?

 

Yep, she climbs aboard one of those big rubber bouncy balls with a handle and bounces her way across the screen, along a highway, into a field by a creek (stopping to pee. All that bouncing you know) and into a park where she stops long enough to sock a guy harassing a woman. Then back to her original sojourn. The two in the park are never identified but must have been just friends of whomever shot this flick. Most of this journey is shot in long shot so we feel and experience how slow it is to bounce to an event rather than running or even walking.

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Finally, Bat Pussy shows up at Buddy and Sam’s , where she is quickly grabbed, undressed, and becomes part of a most unerotic ménage à trois. Finally, it seems Bat Pussy gets bored (or angry at Buddy getting her name wrong, calling her Bat WOMAN), grabs her clothes and leaves. The end. That’s it.

 

 

Did they run out of film? Did they just get tired of each other’s company? Did they have to get the Hopper Ball back to the kids? Who knows? All you will know is that you have experienced something quite weird. Tommy Wiseau all that this film is missing.

 

It is fitting then that SOMETHING WEIRD is the company that “saved” this film from disappearing. Back in the 1990s, Mike Vraney bought a bunch of 16mm films that were abandoned and rediscovered in a Memphis Tennessee theatre, among them was the film that Mike himself christened “Bat Pussy”. There were no title cards, no way to identify who the performers or “filmmakers” were.

 

“Let us punish the guilty. Let us reward the innocent” to quote Ed Wood. That at present is not possible, though the good people at Something Weird certainly tried, along with many others. No one has stepped forward to acknowledge of their involvement in BAT PUSSY.

 

It is thought that this was made for an indie porn theater for local consumption. Seeing how much the distributors made on these films, the local theater owner must have decided that he wanted 100% of the profits.

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So, what if the boom mike drops into the shot? No one is coming to see these films for their technical quality. It’s for the trench coat crowd. Look it’s in color and has sound. Yes, the colors were ugly and yes, the sound is dialogue that sounds like Angry trolls possessed by Don Rickles with Tourette’s are talking. It was cheap and ran long enough to live up to the claim it was a feature.

 

It is thought to have been made in Arkansas, due to the accents as well as an Arkansas Razorback tattoo on Buddy’s unattractive posterior. We are told (via the commentary track, more on that later) that this was just a blur in the old prints but thanks (?) to hi-def, we can see this and other little details that once viewed cannot be erased from your mind.

CENSORED

 

 

Back to the restoration (sorry, this film plays tricks with your sense of continuity). The film was from a 16mm print, which may] and almost certainly the only copy still in existence. Like most 16mm films shown constantly, it had wear and tear upon it as well as faded color.

 

Enter American Genre Film Archives (and hopefully not riding in on their own hopper balls). Along with Lisa Petrucci and Tim Lewis of Something Weird, the film was scanned to a 2K  1080p transfer in 1.33:1 ratio. The images are more likely the sharpest that they have been in 40 plus years.

 

That of course is not saying much. No one would confuse the camera work here with that of Geoffrey Unsworth and the “director” is no Kubrick. Set the camera and let it run, and the locked off camera makes me wonder if Buddy, Sam, or Bat Pussy herself were the person who pushed the button and let the camera run, and dashed into the scene, letting the machine run until the film ran out.

AGFA has sharpened the image, but left a lot of the blemishes and scratches to retain its grindhouse feel. The DTS-HD MA English 2.0 mono track does nothing to make the dialogue any clearer and indeed subtitles would have been helpful, though it is interesting to try and understand some of what is mumbled. Does Buddy say he is going to “fuck someone in the nose “?

 

Like most SOMETHING WEIRD releases, this disc has a collection of interesting and eclectic extras:

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A theater intro about a minute long warns that the film about to be presented is sexual in nature and if you cannot deal with such things to leave the building. Was that made for legal reasons at the time? Or had someone possibly wandered into the theater thinking this was legitimate Batman tie in feature? I kept waiting for William Castle to warn of Emergo, which would be of a completely different nature in a film like this.

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A running audio commentary by is supplied by Something Weird’s Lisa Petrucci and Tim Lewis, Bleeding Skull’s (http://bleedingskull.com) Annie Choi, and AGFA’s Joe Ziemba (also from Bleeding Skull) and Sebastian del Castillo. The team are enthusiastic and laugh along at the nonsense on screen, which would probably be the reaction if you popped it on for other like-minded fans of schlock to view at a party. They also supply as much info as they can on the project, especially on its discovery and rebirth into video and now Blu Ray.

 

THE SHOPLIFTER (Highway Safety Foundation,1964,20 minutes, color) is supposed to be a warning to store workers, but is a how to as well to become a shoplifter!

 

DATING DO’s & DON’T’s (Coronet,1949,13 minutes, color) is one of those sincere but laughably date films that were brought out for high schoolers when teacher needed to rest.

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A TRIP TO THE STOREFRONT THEATER (no info ,1970s,2 minutes) has a happy couple go the said theatre and see a guy in a werewolf mask have sex with some bored woman, the couple leaving after viewing this, smiling! Is there a lycanthropic fetish?

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CRIME SMUT TRAILERS: a collection of Black & White and color “cumming attractions “from such wonders as THE BLACK ALLEY CATS (1973) and 7 others. A lot of unattractive men ogle and sometimes grind upon some women who probably thought that this was a good career move when they did these flicks.

ROBOT LOVE SLAVE

Speaking of unattractive men pawing prettier young women, we are given another full-length feature, ROBOT LOVE SLAVES (also known as TOO MUCH LOVING, no releasing company info ,1971 ,54 minutes). A soft-core film that at one point had hard core inserts (some of which only remain in its trailer, not on this disc), it is another film where attractive women are once again paired with gangly and just plain ugly guys. I am sure that they looked like the trench coated crowd who went to these films but if these guys were the only choices for the females in real life, the race would quickly go into extinction.

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Clark (uncredited) is a geeky, glasses wearing looking nerd (though that could also describe yours truly!) who’s wife (also uncredited) nags her husband for attention (a theme for the two features- Nagging Sex Flicks!).

 

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Clark has been busy in the basement creating naked robot female love slaves, beating WESTWORLD (HBO,2016) by a few years. These robots exist for one purpose, pleasure, be it with Clark, his neighbor Harry, Harry’s wife (Candy Samples, who probably is best known as Chief Nellie in FLESH GORDON, Mammoth Films,1974. This may have been one of if not her first film, having begun nude modeling at age 40 sometime in 1968-69), and finally Clark’s wife.

I assume that the filmmakers felt that no one would admit to seeing this film, as they seem to use some famous songs in instrumental versions.I mean,who would admit they went to such a film in the theater ?

The print of this is from a well worn 16 mm copy, with scratches and splices, but it does add to the grind-house feel.

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(Something Weird’s DVD-1 )
The final cool extra is a booklet by Mike McCarthy called “I Saved Bat Pussy”.

Having worked in a film storage house, I saw first hand how easily films could be mislabeled and lost ,so I have great  respect for Lisa Petrucci and team continuing the work of Mike Vraney .

 

Lately, SOMETHING WEIRD has been experiencing an odd sort of censorship. Credit card companies for months were refusing to deal with the company, due to S.W. carrying pornographic films! This, from credit card companies that make fortunes due to letting people download porn in hotel rooms, buy in adult stores, etc. It seems that they were targeting an independent company for no good reason, as their argument does survive even a cursory scrutiny.

 

 

By removing one or two titles from their site, Credit Card companies are grateful to once again make money on both purchasers and Something Weird.

 

 

Amazon has decided that the title  BAT PUSSY is too pornographic for their consumers (while carrying kindle porn like “After The Ball Game: Annie Plays With Coaches Bat”-look it up) so it is great that companies like DIABOLIK have stepped up to carry the film.

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Show your support of these indie companies that support films beyond the mainstream.

 

AGFA & SOMETHING WEIRD have also released (so far )THE ZODIAC KILLER (reviewed by SCARLET https://scarletthefilmmagazine.wordpress.com/2017/08/23/the-zodiac-killer-agfa-something-wierd-blu-ray-released-july-252017-another-son-of-sam-34-95/ https://scarletthefilmmagazine.wordpress.com/2017/08/23/the-zodiac-killer-agfa-something-wierd-blu-ray-released-july-252017-another-son-of-sam-34-95/ ) , and the Ed Wood written THE VIOLENT YEARS (https://www.amazon.com/Violent-Years-Blu-ray-Jean-Moorhead/dp/B073ZWJWQ8/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1512571396&sr=1-1&keywords=VIOLENT+YEARS+blu+ray ).

 

AGFA has also released the long-neglected EFFECTS, created by several people, including Tom Savini, who worked with George Romero. (https://www.amazon.com/Effects-Blu-ray-Tom-Savini/dp/B06ZYRPZH8/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1502209114&sr=1-1&keywords=effects+blu+ray )

Keep up the great work, AGFA ( https://www.americangenrefilm.com/ ) and SOMETHING WEIRD (https://www.somethingweird.com/).

 

RIDE THE HIPPITY HOP!
Kevin G Shinnick

YOU NEED A BELT WITH

By the way, if you want to read more, there is even a Wikipedia page about the film. https://en.wikipedia.org/wiki/Bat_Pussy

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PIRATES OF BLOOD RIVER (Twilight Time Blu Ray

 

PIRATES OF BLOOD RIVER (Hammer/Columbia,1962) Twilight Time Blu Ray. 87 min. Color. $29.95. Region Free (A/B/C). https://www.twilighttimemovies.com/pirates-of-blood-river-the-blu-ray/ Limited to 3,000 copies.

Hammer in the late 1950s had found a popular and financially profitable niche with their now classic horror films. The studio, however, also produced a wide variety of titles in other genres. Powerful War films (YESTERDAY’S ENEMY, Hammer/Columbia 1959), Comedies (WATCH IT, SAILOR! Hammer/Columbia ,1961), even crime dramas ( HELL IS A CITY, Hammer/Warner Pathe ,1960).
They even made movies for the popular family market U certificate films. In England, to get the “U” (Universally suitable for all) certificate, a film was thought generally acceptable for ages four and up.

SWORD OF SHERWOOD FOREST (Hammer/Columbia, 1960) was a surprise hit, and so Hammer decided more swashbucklers would do the same. Hammer had done a Robin Hood film back in 1954 (THE MEN OF SHERWOOD FOREST) but each of their Robin Hood tales were standalone stories. *

Oddly, Hammer waited two years to do another swashbuckler, but what they came up with was a winner. PIRATES OF BLOOD RIVER was paired with the Ray Harryhausen adaptation of Jules Verne’s MYSTERIOUS ISLAND, and upon its release in July,1962, quickly became the highest grossing double bill in the U.K. that year.

To get that important “U” rating, a gory filmed scene had to be excised. In the film, actress Marie Devereux unfortunately flees into a river filled with piranhas, and as the vicious killers swarm around her, she screams as the water around her turns red with blood. This scene was returned in later versions of the film, including its DVD release in a 2-disc set called ICONS OF ADVENTURE (Sony Home Entertainment,2008. The other titles were Hammer’s THE DEVIL SHIP PIRATES (1964), THE STRANGLERS OF BOMBAY (1959) and TERROR OF THE TONGS (1961)). In fact, PIRATES at various times was rated ‘U’, ‘A’ (Those aged 5 and older admitted, but not recommended for children under 14 years of age) and even an “X” certificate (Suitable for those aged 16 and older (enforced by all councils) due to what scenes were edited in or out of a release.

 

The film opens with a stock shot of a 17th Century sailing vessel (anyone recognize from what movie this was lifted,let me know) and then we are told via credit crawl that the island is a refuge for Huguenots fleeing religious persecution and settling upon an island they named Devon. “But in the years to come, the just laws of the Colony began to yield to greed and tyranny. Happiness became an echo of the past. Freedom-just a memory.”

Now Huguenots were mostly Northern French Protestants who fled for their lives after the St. Bartholomew’s Day Massacre of 24 August – 3 October 1572, wherein Catholics killed over 25,000 Huguenots in the country, only to have the murderers granted amnesty, as well as the edict of Fontainebleau in 1685 wherein the beleaguered religious sect had to convert to Catholicism or risk ruin, imprisonment of worse.

Devon is a British Iron age name derived from Dumnonia, so it is an odd name for French Settlers to choose. Then again, none of the islanders speak French nor even with an accent but sound very British indeed. Maybe they were some Huguenots who fled first from France to England and from there to the New World?

They are an island whose location is never exactly placed, but piranhas mostly reside in the Amazon and certain Brazilian or Venezuelan rivers. We can thus guess that this island is supposedly located in that general region. Not a wise area for the groups to settle, as the Spanish and Portuguese who occupied those countries were Catholics nations.

This, however could explain why they chose to remain so isolated, and established their harsh fundamentalist governing system. Then again, I am perhaps over thinking this fun romp, so back to the story.

Jonathan Standing (American actor Kerwin Mathews ,forever to be remembered for Columbia’s 1957 classic THE 7TH VOYAGE OF SINBAD ) is found with Maggie Mason (Marie Devereux in her final appearance in an Hammer film ),the wife of one of the town elders Godfrey Mason (Jack Stewart ,who had appeared in the early Hammer film A CASE FOR P.C. 49,1951), The religious leaders, led by Jonathan’s stern father Jason Standing (Andrew Keir, to me the best Professor Quatermass due to his performance in QUATERMASS & THE PIT for Hammer ,1967).They seek to arrest and punish the lovers but the poor Maggie flees into the river, suffering the fate of the piranhas mentioned earlier. Jason says that it is a judgement of God.

Jonathan is tried by the council, who, led by his father, sentences for him to be sent to a penal colony for 15 years. Jonathan’s sister Bess (Marla Landi, so good in Hammer’s HOUND OF THE BASKERVILLES,1959) tells her father that the council is using him. It seems that Henry (American actor Glenn Corbett, who had starred in William Castle’s HOMICIDAL the year prior) says sarcastically says that Jason’s grandfather who helped found the colony and whose carved likeness stands above the courtroom, would be so proud. Jonathan asks that Henry, besides watching over his sister with whom Henry is in love, also watch over Jason’s father until the tyranny is brought down.

 

We then see the cruelty of the mining operations wherein the prisoners are forced to work and be tortured, including leaving Jonathan punished by having his hands tied to a cross beam and dangling above the ground (a form of crucifixion Hammer also used in 1965’s THE SECRET OF BLOOD RIVER). Thank goodness this is family friendly?

Jonathan escapes with an older prisoner who drops dead from exertion. Jonathan flees into the swamps and is presumed killed by the guards. He however, was shot in the arm, and is found by Mack (the great Michael Ripper, who appeared in more Hammer films than any other actor) Hench (Peter Arne, THE HELLFIRE CLUB, Tempean Films,1961) and Brocaire (Oliver Reed, right after his starring role in Hammer’s CURSE OF THE WEREWOLF) and a group of pirates. They bring him to their boat (a wonderful Les Bowie glass matte) and to Captain LaRoche (Christopher Lee, who does speak with a French accent). LaRoche is a soft-spoken, intelligent character, adorned with an eye patch and withered arm and Lee makes the most of his performance. Eleven years later , he donned and eye patch once again and demonstrated his wonderful swordsman skills , with Oliver Reed now an international star in THE THREE MUSKETEERS (Salkind, 1973 ).

 

The pirates say that they would travel back to Jonathan’s colony, which has remained hidden for a 100 year, and help Jonathan establish a just rule, in exchange for a haven and a place they can safely refresh their supplies. They trudge through the river (Michael Ripper disappearing briefly below the surface, Lee trudging on, probably inwardly cursing once again being soaked and walking through muck in another film, like his end in THE MUMMY, Hammer ,1959). Brocaire gets into a fight in the water with another pirate, which is stopped by a stare from the Captain. Filmed in brackish water that smelt awful (Black Park), Oliver Reed got inflamed eyes while Lee got a stomach infection.

Of course, the pirates have no intention of a peaceful co-existence, believing that there is a hidden treasure within the colony. Can Jonathan and the settlers rid themselves of their occupiers?

The film is an exciting, thoughtful thriller. The underlying distrust of an oppressive religious leadership is heavy, considering this is again thought of a family film. Hammer would expand on the idea of Religious close mindedness in greater detail in their horror film TWINS OF EVIL (1971). For the most part, though, this is a thrilling and well-made period adventure piece, that once again Hammer’s wonderful technicians make look so much more expensive than their limited budgets should allow. Michael Ripper has a much larger role than many of his films, and you get to see what a truly fine actor he was. When drunk, he foolishly mocks his Captain, satirizing his bad eye and injured arm.

Now TWILIGHT TIME has released a magnificent blu ray of this fun Hammer action adventure.

The previous Sony DVD was fine, and a bargain when released with the other three titles.

This new Blu Ray release, however, is a revelation. A 1080p High Definition / 2.35:1 / Color print really shows off the Megascope cinematography (kudos to Arthur Grant ,who worked brilliantly at Hammer from 1957 to 1972 ). The colors are incredibly rich, and the sharpness makes this look like a new film rather than a 55-year-old movie.

The 1.0 mono DTS-HD Master Audio is surprisingly rich, with the dialogue, soundtrack and effects all quite clear and crisp.

As for extras,

the optional English SDH subtitles are clear and easy to read, following the action and dialogue perfectly.

There is an isolated music and effects track, wherein you can really enjoy how much both add to the enjoyment of this film. Composer Gary Hughes seemed to be Hammer’s going to man for their 60s swashbucklers, as he also composed their THE CRIMSON BLADE (1963), THE DEVIL-SHIP PIRATES (1964), THE VIKING QUEEN (1967) and A CHALLENGE FOR ROBIN HOOD (1967). You also appreciate how much care Hammer put into their sound design, with not only gunshots and screams added in, but so many tiny details that perhaps go unnoticed by most moviegoers that subconsciously make the scene stronger. Kudos to Alfred Cox (sound editor) and Jock May (sound recordist). They also knew when to pull back on sound, as during the wonderfully suspenseful scene between Hench and Brocaire, wherein both men are blindfolded and have a sword fight. It is without music, and the sounds are dropped down to those of clashing blades and items scattered during the conflict.

An informative audio commentary runs the length of the picture (taken from a previous DVD release) with film historian Marcus Hearn (THE HAMMER STORY, co written with Alan Barnes, Titan Books, 1997), who keeps things going by dropping in some wonderful facts, and prodding the memories of writer Jimmy Sangster (who passed away in 2011) and art director Don Mingaye (who is as of this writing, still alive at age 88).

 

They discuss their experiences with the studio, writing and budgeting, memories of various actors (look for Desmond Llewelyn, later gain fame as Q in the James Bond series) and crew, and having to write a pirate movie without a ship (save for the opening stock shot and glass matte). They also verify that director John Gilling was while a brilliant craftsman was subject to mood swings wherein he could be quite nasty. Christopher Lee even found him difficult to work with.The commentators attribute this to a head wound that Gilling had, which left him with a large scar. Gilling did give us several horror classics, such as FLESH & THE FIENDS (Regal 1959) and the Hammer “Cornish “horrors, THE REPTILE and PLAGUE OF THE ZOMBIES (both 1966). They also talk about how surprised Sammy Davis Jr, a huge Hammer fan, was when he visited the set of this film.

Julie Kirgo as always supplies a nice overview appreciation of the film in the booklet enclosed with the blu ray.

Finally, we get the original theatrical trailer.

Today, to do a pirate film costs over $200 million dollar and is CGI crazy to the point wherein the actors often become ciphers to the visual chaos. However, releases like this show you what talent before and behind the camera could do with a very small budget.

Recommended to fans of Hammer, Christopher Lee, and adventure fans of all ages (just watch out for those piranhas!).

-Kevin G Shinnick

 

*-the other Hammer Robin Hood film was A CHALLENGE FOR ROBIN HOOD (Hammer/Warner Pathe ,1967). WOLFSHEAD: THE LEGEND OF ROBIN HOOD was a failed tv pilot from 1969 that Hammer acquired but did not produce, and released theatrically as a B feature in 1973.

 

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STILL TIME TO ENTER TO POSSIBLY WIN A DVD/BLU RAY of BETTER WATCH OUT . December 1,2017 deadline. 

https://scarletthefilmmagazine.wordpress.com/2017/11/22/win-a-blu-ray-dvd-combo-of-well-go-u-s-a-s-horror-comedy-better-watch-out/

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THE SLAYER,1982 (Arrow Blu Ray/DVD combo release)

THE SLAYER (Arrow U.S. DVD/Blu Ray Combo) $39.98 s.r.p. Color .1982. https://vinegarsyndrome.com/shop/the-slayer-arrow-films/

Back in 1985, while I was managing a video store, horror films were among the biggest rentals.

The major studios had started putting out more and more of their product, so indies had to think of new ways to make their titles stand out.

One of the ways was the larger sized video boxes. Continental Video (1984-87), one of the smaller companies, released 63 titles during their short existence, and quite a few were interesting titles for cult and horror fans, among them TO THE DEVIL A DAUGHTER (Hammer ,1976), DAUGHTERS OF DARKNESS (Gemini-Maron,1971) and THE RETURN OF THE ALIENS /aka THE DEADLY SPAWN (Filmline, 1983).

Their large boxes with often garish colors stood out on the shelves. The company also began to release double features (edited for time though not for gore or nudity to fit on one tape) and a lower price point to appeal to store owners.

One of them was SWEET SUGAR (Dimension 1972)/ESCAPE FROM WOMEN’S PRISON (aka HELL HOLE, Phillipines,1978), a woman in prison co-feature.

The other was THE SLAYER (21st Century Film Corp.,1982) and Fred Olen Ray’s SCALPS (21st Century Film Corp.,1983). Both had been edited down to 75 minutes each from 90 minutes and 82 minutes respectively.

Even in their edited forms, these two films were better than a lot of the indie horror stuff that was filling the shelves at the time.

Fred Olen Ray got the rights back to his third feature, and released a beautiful uncut blu ray of the movie through his company Retromedia. Now, thanks to Arrow U.S., we can give a proper evaluation to THE SLAYER.

Kay (Sara Kendall) is a surrealistic artist who has suffered from bizarre nightmares since childhood. Her husband (Alan McRae), a doctor, decides that she needs to get away, and so they go to a remote island, along with Kay’s brother Eric (Frederick Flynn) and his wife Brooke (Carol Kottenbrook). They are flown to the remote place by Marsh (Michael Holmes). Kay is disturbed to see that on the island that the house in which they are staying and an abandoned theatre both are featured in her dreams and her subsequent paintings. The others dismiss it as just an odd co-incidence.

As they are settling in, Marsh tells them that a storm is coming, and that they should all leave.

Of course, they decide to stay, and one by one, they are picked off in gruesome fashion.

The brief synopsis I gave I am sure does not sound that original, and indeed, it isn’t if you have ever seen a horror film involving a group of isolated people.

What makes this film stand above so many other films of the era is its execution (pun intended).

The film’s main characters, for one, are not just a bunch of horny teens but married couples with jobs (Eric even shoots television commercials). The actors are also better than many of the screaming teens featured in so many of the flood of Friday The 13th rip offs that invaded theatres and home video at the time (lead Sarah Kendall we are told on the commentary track had been a stage actress, and after a small role in THE KARATE KID PART TWO (Columbia,1986) she seems to have done no further film work. I cannot seem to find any stage credits for her, nor is she to be confused with an Australian comedienne with the same name.).

The film also has a slicker, more European style than other horror films made in the U.S., which we find out on one of the commentary tracks was intentional.

The film also has a dream demon that comes into our dimension while Kay sleeps, two years before Wes Craven’s A NIGHTMARE ON ELM STREET (New Line,1984).

Indeed, the effects are still quite impressive, especially the final creature suit (this is not a spoiler, as it is featured on almost all artwork or video release covers previously, as well as in beautiful cover art on this new ARROW U.S. Blu Ray/DVD combo pack).

For one thing, the original theatrical release was a shoddy cheap print run, and the colors were quite muddy as well as quite dark imagery. On the Continental release, this was the print used for their full frame (and, as noted, edited) vhs edition.

Now, ARROW has gone all out and given this little sleeper (see what I did there?) the treatment that makes the film look better than it even did on its original release. (note: review is based upon BLU RAY screener.)

They have given us a REGION FREE High Definition (1080p) and Standard Definition DVD presentation from a 4K scan of the original negative.

The 1:85:1 composition truly shows off the marvelous cinematography by Karen Grossman (who handled similar duties on 18 episodes of MONSTERS (Laurel Productions,1988-90), with rich colors, as well as being able to see information previously hard to discern in older prints.

The Mono audio sound is crisp and clear. There was no punching up the tracks nor was there need to.

As to extras:
The original theatrical trailer.

The optional English subtitles for the hard of hearing are excellent in their descriptive quality and match the dialogue perfectly.

There are two running audio commentaries:

The first features a fact filled track moderated by Ewan Cant (Arrow disc producer and knowledgeable horror fan) along with writer /director J.S. Cardone (this was his first effort, but he has continued in the genre with productions such as the vampire flick, THE FORSAKEN (Screen Gems,2001)), actress Carol Kottenbrook (later to marry the director,  now a producer in her own right) and executive in charge of production Eric Weston (producer/ director of EVILSPEAK, The Moreno Co.,1981). The discussion is lively, and their recollections of the production are for the most part positive and informative about shooting in Georgia, casting, and a great deal about the effects done live on set.

The second commentary track is from a group known as the Hysteria Continues podcast. I had never heard of them before, but they are a group of U.K. friends who are quite knowledgeable about genre films, especially slasher movies.

They comment about how they first discovered this movie, about the whole Video Nasty nonsense thanks to nutcase Mary Whitehouse, and that this was one of the 72 films outright banned in 1983, but was never prosecuted, and later reissued with 14 seconds cut of a pitchfork murder.

They are as of this week up to their 150 podcasts https://player.fm/series/the-hysteria-continues# if you would like to check them out.

There is an isolated selection of the score and an audio interview Michael Felsher (Red Shirt Pictures documentaries) with composer Robert Folk (a Julliard graduate, best known for the POLICE ACADEMY (Warner Brothers,1984) theme. Their discussion about how the score was constructed was very interesting and quite unique.

Not enough extras? How about these new documentaries:

Nightmare Island: The Making of THE SLAYER “- this a nearly hour long featurette that covers some of the info from the first audio commentary, but also builds and adds to it, with new interviews with Cardone,Kottenbrook,Weston ,as well director of photography Karen Grossman , camera operator Arledge Armenaki (HOWLING V,Vestron,1989) effects wizard Robert Short (who had begun on ALLIGATOR ,Group 1,1980 makeup effects and is active still on special effects for major films like THE MAN FROM U.N.C.L.E. ,W.B.,2015) and the man in the creature costume, Carl Kraines .

Return to Tybee: The Locations of THE SLAYER” – a return to the locations used in the film on Tybee Island, Georgia, including the original house which many of the crew thought was haunted.

The Tybee Post Theater Experience”– the theater used in the film held a recent screening and the locals react and have a Q & A with Ewan Cant and Arledge Armenaki.

-A slide show picture Gallery.

The first Pressing only will have a collector’s booklet featuring a film overview by Lee Gambin (horror historian, author of Massacred by Mother Nature: Exploring the Natural Horror Film; Midnight Marquee Press, Inc. October 8, 2012).

A Reversible sleeve featuring a beautiful cover by Justin Osbourn.

This is a must have for fans of horror films of the 1980s and kudos to ARROW U.S. for their amazing dedication to this film that is deserving of rediscovery.

-Highly Recommended.

Kevin G Shinnick

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THE PRISON (blu ray) contest from WELL GO USA (update: CONTEST OVER.CONGRATS TO THE WINNERS-9.2O.2017)

CONTEST OVER.CONGRATS TO THE WINNERS-9.2O.2017

Win one of 4 blu rays of WELL GO USA ENTERTAINMENT‘s HE PRISON.

After a fatal accident, Yu-gon, a former police inspector, is sentenced to hard time in a prison he once helped fill. Once inside, he discovers the entire penitentiary is no longer controlled by the guards, but by a vicious crime syndicate that breaks out at night, using their prison sentences as the perfect alibi to commit intricate heists. Looking for revenge against the system that placed him inside, Yu-gon joins the syndicate… but with every man out for himself, how long can the perfect crime last?

Director: Na Hyun Producer:Lee Sung-Hun
Cast:
Choi Sung-Won, Joo-Wan Han, Han Suk-Kyu
Genre: Action & Adventure, Foreign
Run Time:125 mins.
Korean with English subtitles

See the trailer here :
https://www.youtube.com/watch?v=WFoLR2ARyBY

“The Prison is a ferociously effective genre film from Korea that feels like the kind of movie Hollywood will remake in its own image. But adding star power and the English language won t necessarily improve things, as The Prison is brutally entertaining just the way it is.” –Fort Worth Star-Telegram

To enter, merely like and follow both

https://www.facebook.com/SCARLETreviews/

and

https://www.facebook.com/WellGoUSA/ ,

then send an email with the heading

Take Me to THE PRISON
to

scarletthefilmmag@yahoo.com

Include your name and mailing address in the body of the letter.

Deadline is September 19th,2017.

Four winners will be drawn at random .

THE PRISON will be released on BLU RAY from WELL GO USA ENTERTAINMENT on September 19th.

$29.95 value

 

 Thanks to WELL GO USA ENTERTAINMENT for sponsoring this contest .

(update : CONTEST OVER.CONGRATS TO THE WINNERS-9.2O.2017)

 

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THE ZODIAC KILLER (AGFA /SOMETHING WEIRD Blu-ray released July 25,2017) ANOTHER SON OF SAM $34.95

THE ZODIAC KILLER (Prudential Pictures ,1971) (AGFA /SOMETHING WEIRD Blu-ray released July 25,2017) Color 86 minutes /plus bonus feature ANOTHER SON OF SAM color 67 minutes $34.95

https://www.amazon.com/Zodiac-Killer-Blu-ray-DVD-Reed/dp/B06Y1C49BD/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1491924197&sr=1-2&keywords=zodiac+killer

 

Back in the early 1980s, I worked in a film storage company . While many television suppliers would keep their 16mm prints with us for broadcast, and studios would have their 35mm theatrical prints (mostly weekend children matinees ,like MAGIC OF LASSIE (Int. Picture Show Co, 1978) ,a large majority of our films sat in boxes and rotting film cans.

 

Located in a pier in Edgewater NJ , our storage facility had the original negative of THE HOUND OF THE BASKERVILLES (Fox,1939) as well as NIGHT OF THE GHOULS (Ed Wood ,filmed in 1957, no known release). How these two California produced films negatives ended up in our facility is a mystery. Both were in containers with only lab numbers,without identifying titles.

 

Shipping errors, mislabeling, human mistakes, hundreds of titles ended up misplaced in storage facilities around the country. Some prints were not returned at all ,and ended up remaining in movie theatres, in the hands of private collectors , or buried in cement .

 

 

Add to that film rot (deterioration ) and color shifts (prints turning pink) – it is little wonder that so many films vanish .

 

While major studios have started to preserve their heritage , the independent film, those made outside the system ,or taken by smaller distributors with either shady practices or /and firms that went belly up, a lot of film prints and original elements lay unclaimed in various film labs due to unpaid services or forgotten . Corruption of the film stock had many turn to jelly or dust ,others tossed due to storage fees unpaid.

 

 

Luckily ,in 1990 the late Mike Vraney began the painstaking and time consuming task of finding films in horror and sexploitation ,among the many genres, that he found ,saved from literal oblivion, and released onto the home video market .His hard work turned grind-house filmmakers like Herschell Gordon Lewis and Doris Wishman into cult figures .

 

The incredibly friendly Mike and his lovely wife Lisa Petrucci ,equally friendly as well as his business partner and who wrote up many of the synopses and designed the various covers, were always welcome dealers at various conventions across the country.

 

When he passed , Lisa continued the company , and has kept the legacy of SOMETHING WEIRD alive (check out https://www.somethingweird.com/ ) and now has teamed up with newcomer AGFA ( The American Genre Film Archive ) to restore and release some titles in her catalog onto Blu Ray .

AGFA is a 501(c)(3) non-profit located founded in 2009 in Austin, Texas. AGFA exists to preserve the legacy of genre movies through collection, conservation, and distribution. (Want to donate? http://americangenrefilm.com/about )

 

After a successful Kickstarter campaign ,they are releasing THE ZODIAC KILLER . This is promised to be the first of dozens of titles that AGFA and SOMETHING WEIRD plan to release .

THE ZODIAC KILLER is an incredibly unique film . Created by Tom Hanson who was not involved in film making prior (owning a chain of successful Pizza Man Restaurants) ,his idea was not to make money or for any artistic ambition. Tom felt that his cinematic effort would be a huge aid in helping to capture the Zodiac Killer .

 

The infamous Zodiac Killer claimed his first known victims on December 20,1968 and his last known one on October 11,1969. There are other suspected deaths that are suspected to be the victims of the unknown assassin (he was never apprehended) that go back to 1963 and up to 1970 . The infamous executioner was self named due to a series of taunting and cryptic letters which they sent to the police and newspapers(that continued until April 24,1978) , signed with an enigmatic sketch that resembles a cross hair of a rifle.

 

Hanson thought that if he made a film about the events , the Zodiac Killer would be drawn to see the film ,at which point the filmmaker and friends would perform a citizen arrest!!

 

The plan was the following. Tom Hanson rented out the Golden Gate Theater in San Francisco and premiered the movie on April 7, 1971 (the killer had written his Los Angeles Times letter just three-and-a-half weeks earlier). They thought that his ego would draw him moth-like to a flame to see how his story was portrayed.

Somehow ,he got Kawasaki to donate a motorcycle for a prize giveaway.Entrants would fill out questionnaires with the statement “I think the Zodiac Kills because …” and see if an of the entries matched the handwriting of the Zodiac.

To that end, they constructed elaborate and inane traps with which to apprehend their subject ,including a fake ice cream freezer which had an accomplice of Hanson’s within supposedly ready to leap out at the appropriate moment . He must have consulted Wile E Coyote ‘s beloved Acme products, as the person within the box nearly passed out due to insufficient air holes!

Hanson feels that the had indeed captured the mad man at one of the screenings,but had to let them go due to lack of evidence .

The film was also later handled by an unscrupulous distributor and so Tom Hanson ,needing to make money again, stepped away from the maverick world of indie film making. The film was reportedly shot for $13,000,an incredibly small sum to shoot a film even back in 1970.

 

What we are left with is this incredible document of the time .

 

The motion picture you are about to see was conceived in June 1970. Its goal is not to win commercial awards but to create an “awareness of a present danger”. Zodiac is based on known facts. If some of the scenes, dialogue, and letters seem strange and unreal, remember — they happened. My life was threatened on Oct. 28, 1970 by Zodiac. His victims have received no warnings. They were unsuspecting people like you…
Paul Avery. Reporter
San Francisco Chronicle

 

That is the opening credit to give the film it’s bona fides. Paul Avery was a real life police reporter for the San Francisco Examiner who was drawn into the investigation when he received a Halloween card with the cryptic symbol with the warning”you are doomed” . Avery was later heavily involved with covering the Patty Hearst kidnapping .

 

Having his name associated with the film was meant to lift it up from mere exploitation. The result ,however,while sincere ,is brought down by bad acting and inept technical aspects. That does not mean that the film is without merits.

For one thing, the killings are pretty brutal and sudden . The film also has a dark sense of evil lurking everywhere ,with the killer having the last words :”I’ll be seeing you”.

While claiming to be the true life events of the serial murders, certain facts are played with and a lot of characters who are not involved with the events were invented for the story line .

 

The film is in the end, in spite of all its good (?) intentions , an exploitation film (not that there’s anything wrong with that!!).

 

SOMETHING WEIRD had released THE ZODIAC KILLER prior with two other films on DVD , THE SEX KILLER (Barry Mahon,1967 ,about a Times Square psycho ) and ZERO IN & SCREAM (Lee Frost,1971,a man kills women who reject him in Hollywood). That release is now out of print .

 

This new Blu Ray is a 4K scan 1080p HD transfer from the surviving16mm blow up elements (it was shot in 16mm to be transferred to 35 for theatrical release). The audio is a DTS-HD Master Audio 2 channel track . While the picture quality and sound is improved ,AGFA is taking great pride in not altering or punching up sounds or pictures ,to give the closest presentation to the original release (take that George “let me C.G.I. the soul of it it “Lucas) . Therefore, flaws in the 48 year old film elements remain (some hazing common in 16mm blow ups,and a hair in the gate when it was printed. The sound too isn’t played to jump around your sound system.

 

Other extras on this AGFA/SOMETHING WEIRD release are

 

A brand new commentary track with several of the surviving creative team like Director /Producer Tom Hanson ,Producer Manny Nedwick and several of the AGFA team .

 

A four minute film interview with Nedwick and Hanson have the two discuss how the film came together is material covered in the audio track but it is interesting to put faces to the voices .

 

Finally, a second feature fills out the extras. Whether you think this is a bonus or not depends how much you enjoy ANOTHER SON OF SAM (1977). This film was given a new 2K scan from a 35 mm print.

This film’s most interesting moments are the long list of serial killers going back to Jack The Ripper. I mean it goes on for quite a while. QUITE A WHILE . Almost as if they are trying to delay the start of the movie as long as possible. It finally runs out of murderers to name(though I kept expecting another title to pop up during the course of the film ,reading : “Oh we forgot to mention…”)and we take a leisurely journey down a river, to a couple’s boat house ,and then to a night club where a singer named Johnny Charro,portraying himself , in full lounge lizard attire ,sings “I Never Said Goodbye” ,a tune that rates with “The Words Get Stuck In My Throat”from WAR OF THE GARGANTUAS (Toho,1966) as most responsible for killing nightclubs. Johnny ,by the way ,is still with us and performing .http://www.johnnycharro.com/about.htm

 

“L-l-l-ladies….Johnny Charro”

Finally, just when we think we are watching someone’s vacation films , we cut to a local mental institution . Our killer named Harvey (not a killer bunny) breaks free of his restraints (I wonder if Rob Zombie saw this to inspire his Halloween remakes ?) after receiving electro shock and a sedative (did he hear Johnny Charro??) . A quick flashback implies that Harvey was sexually abused by his mom, causing him to go off on a murder spree.

Somehow ,we try to follow a group of college girls ,whose lives meet up with the killer, and swat teams are called in, and a lot of running around happens ,a few odd freeze frames happen while the sound continues , and mother is called in to confront her son at a police stand off, where he is killed by multiple gun shots (with some of the most obvious blood packs ever used on screen).

The end.

Really.

I watched it twice just to make sure that I didn’t miss something. If anything it seemed more confusing the second time around. Were it not for the sync sound in certain scenes ,I might have thought it was made by Hal Warren of MANOS THE HANDS OF FATE ( Emerson ,1966 ) infamy. It was that level of ineptness. Warren ,however ,had an excuse as he had never made a film before (or after).

ANOTHER SON OF SAM (shot under the title HOSTAGES) was written,produced ,and directed by stunt man Dave A Adams ,who also handled the stunt co ordination .Adams had at least been on film sets before (TRUCKER’S WOMEN ,1975 ,which was released regionally,then on Paragon Video,before Troma picked it up), but you would never know it. Filmed in Charlotte,North Carolina , the film seemed to have been shot in 1975 before finally getting a nominal theatrical in 1977.

 

It is just 67 minutes but it seems ten times longer .This is a film that is crying out for a Rifftrax treatment.

 

 

ANOTHER SON OF SAM is at least much clearer than the old Neon Video VHS copy that was around for years at video stores. That said, poor sound work cannot be improved and this film suffers from a lot of that (though with some of the dialogue,maybe that is a blessing. “No,you can’t come into the shower with me,Henry!”may sound like something sexy is about to happen but the character is talking to a stuffed plush animal!!).

Kudos to AGFA and SOMETHING WEIRD for saving these film obscurities , though your enjoyment will depend upon your enjoyment of
SERIAL KILLER FILMS
1970s EXPLOITATION CINEMA

I assume that if you have read this far, then this Blu Ray /DVD combo is needed for your collection.

This Is Not The End (well actually it is ).

-Kevin G Shinnick

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EVERYTHING YOU WANTED TO KNOW ABOUT SEX -Woody Allen-Twilight Time Blu Ray

Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) (U.A.,1972) (TWILIGHT TIME Blu Ray ) $29.95 .Region Free A/B/C release July 18,2017 https://www.twilighttimemovies.com/everything-you-always-wanted-to-know-about-sex-but-were-afraid-to-ask-blu-ray/ . Limited to 3,000 units.

Sex Sells. The maxim in advertising is often quite true. People are shocked and titillated, offended and fascinated, intrigued and repulsed by it. Due to that, interest in it never waivers. Back in the 1948 & 1953, the two books that became known as THE KINSEY REPORTS were published. These dry data filled books shocked people , as it let the general public know that their neighbors were doing it, how they might be doing it, some kinks they might have . Masters & Johnson also published their scientific studies, that showed such far out ideas as women might actually enjoy sex .


The freer society of the late 1960s led to the publication of the book EVERYTHING YOU ALWAYS WANTED TO KNOW ABOUT SEX* (*BUT WERE AFRAID TO ASK) by David Rueben ,M.D. Published by McKay in June 1969, the book became a world wide best seller. His how to manual seemed a must have .

When it was announced that Woody Allen was going to make a film based upon the non fiction book, people were surprised. Allen ,who had begun as a writer for the Colgate Comedy Hour on television, and written short humor pieces for magazines like The New Yorker. He stepped out and began his successful stand up comedy career , which led to his guest appearances on several popular T.V. shows.

 

His first play, DON’T DRINK THE WATER , was a hit that ran for 598 performances, and introduced the author to Lou Jacobi and Tony Roberts, the latter who became strongly associated with Allen’s films of the 1970s and 1980s.

 

A year earlier , he had written and taken a small role in the popular film WHAT’S NEW ,PUSSYCAT ? (U.A.,1965) .

His next film ,co written with writing partner Mickey Rose was the redubbed Japanese spy thriller International Secret Police: Key of Keys(Toho),with all the dialogue re-dubbed into an hysterical plot about the world’s best egg salad, and the new version was called WHAT’S UP TIGER LILLY?(AIP,1966),hoping to cash in on the success of Allen’s previous movie.

Disappointed by studio interference , Allen vowed to direct and retain creative control on his next films.
His play PLAY IT AGAIN ,SAM in 1969 was another hit, and brought actress Diane Keaton into both his professional and personal life.

Working with Mickey Rose again on a screenplay , Allen also directed and starred in TAKE THE MONEY AND RUN (Cinerama,1969). The modest film doubled it’s investment ,leading U.A. to sign him to a long term (though not exclusive) deal. BANANAS(U.A.,1971) made five times its production costs ,and his play PLAY IT AGAIN SAM (which he wrote & co-starred, but did not direct for Paramount 1972) also did fairly well . Diane Keaton, Jerry Lacy and Tony Roberts also reprised their Broadway roles.


So ,Allen ,who played a nebbishy character often obsessed with but failing at sex, seemed to be ready for the ultimate sex romp. But how to turn the book into a comedy ?

His solution was  to turn the film into an omnibus, with seven stories that all work separately,all dealing with sex.

Do Aphrodisiacs Work?

They definitely do for the Fool (Allen) who has fallen for the Queen(Lynn Redgrave). While his Bob Hope style one liners fail to thrill the King (Anthony Quayle),the Fool definitely has an interest in the lovely Queen(Vanessa Redgrave) that involves more than jokes.

While walking the parapet, the Fool  has an encounter with his father’s ghost (Allan Caillou,probably best known to many as The Head on the short lived tv series QUARK (Columbia,1977-78).A very funny exchange parodying Hamlet ensues.

The ghost sends him to the Sorcerer (played with glee by Geoffrey Holder) who give him a love potion

The potion definitively gets her in the mood. Their amour is stopped by her chastity belt,of which her husband The King has the key. Let us say it ends with Fool  losing his head over sex. A very Decameron inspired tale,by way of Woody Allen. ”It’s great to be back here in the palace!”

WHAT IS SODOMY?


Gene Wilder is Dr Ross,a general practitioner. A new patient ,Stavros Milos ( Titos Vandis,who had starred on Broadway in the original ON A CLEAR DAY YOU CAN SEE FOREVER,1965)),has a problem. He was a lonely shepherd who feels that his sheep Daisy no longer loves him. Shocked at first, Dr Ross is smitten by her sheep eyes, and persuades Milos to leave her with him.This leads to the doctor’s downfall,as he is discovered with the animal, ending in his divorce ,a nervous breakdown,his career shattered ,and him drinking Woolite. Wilder is superb and very sympathetic, so it makes the ending somewhat sad rather than funny.

Why Do Some Women Have Trouble Reaching an Orgasm?

Woody returns in this spoof of Italian films. Here he is Fabrizio ,a husband of six weeks. His lovely blonde wife Gina (played by Allen’s real life second ex-wife Louise Lasser)is unable to climax during sex. Talking with friends provides no help ,until one day when he kisses her in a store ,she gets excited and they begin having sex in public.


The film is an hysterical satire of the popular films that were filling the art-house theatres . The clean lines ,camera set ups, and dialog marvelously send up the films of Fellini and Antonioni. The dialogue is even in Italian with English subtitles.

Are Transvestites Homosexuals?


Lou Jacobi is brilliant as a man who is at a dinner party at a friend’s home, when he decides to try on some of the wife’s outfits. The episode kind of ends abruptly,making it one of the more unsatisfying episodes,plus it never answers the question posed. For the solution  ,one needs to seek out the works of Ed Wood (the answer, by the way ,is no.Not all transvestites are homosexual).

The author of the original book, by the way, seemed to be anti homosexual.He found gay male sex life as loveless anonymous encounters,and also called a trans woman as a “surgically mutilated male homosexual”.

What Are Sex Perverts?


This segment is made to look like the popular game show “What’s My Line?” as if taken from an old black & white kinescope. Jack Barry plays himself ,as the host moderator of “What’s My Perversion?”. In real life ,Barry had been involved in the game show scandals of the 1950s . Among the real life celebrities who had careers on panel shows guessing  portraying themselves are Regis Philbin, Robert Q Lewis,and Pamela Mason, as well as Toni Holt(now infamous for strong support of Donald Trump). There are a few jokes about child molesters and rape that may offend .

Are the Findings of Doctors and Clinics Who Do Sexual Research and Experiments Accurate?


This is my favorite segment of the film. An hysterical send up of low budget horror films. Heather MacRae               ( daughter of Sheila & Gordon MacRae) portrays Helen Lacey , an investigative journalist whose car breaks down .Luckily, she meets Dr Victor (Allen) who is going to the same destination,the home of mad scientist ,Doctor Bernardo (John Carradine, in an uproarious send up of a role he had often portrayed). He and his hunchback assistant Igor (Ref Sanchez,whose make up resembles Karkov in TERROR IN THE WAX MUSEUM(Cinerama,1973),a film that also starred- John Carradine!!)are taking part in strange sexual experiments, among them one of which an unconscious woman is being given nothing but silicone for a whole year.

”She used to be flat chested .Give me another year, and watch out”cries Carradine,the thought of which starts him slobbering and smacking his lips insanely.

 

Karkov in TERROR IN THE WAX MUSEUM

 

Dr Bernardo  plans to use Helen in his next sexual experiment ,but a fight breaks out ,and the equipment explodes and goes into overdrive . The result is that the silicone woman is turned into a giant deadly breast that begins to terrorize the countryside.

The film has the look of so many of the drive in films of the period ,including the stilted explanatory dialogue, the few pieces of mad scientist equipment, and oh yes John Carradine!

 

What Happens During Ejaculation?

Production Designer Dale Hennesy takes an early stab at the look that he will use for Allen’s next futuristic film, SLEEPER (U.A.,1973). In this segment, the set and the sequence at times resembles the 1966 science fiction classic FANTASTIC VOYAGE (Fox,1966) .The brain of our unseen protagonist is run by The Operator (Tony Randall) his assistant Switchboard(Burt Reynolds),and Brain Control ( Oscar Beregi,Jr) .They discuss the latest string of sexual failures, and The Operator checks out their current date (played by Erin Fleming. Fleming is perhaps best known as the woman who helped thrust Groucho Marx in his later years back into the spotlight, only to be sued by the comedian’s family after his death).

They are unsure if this date will result in sex until she says she went to New York University . “We’re in!”crows The Operator confidently.

The various parts of the body are contacted, trying to help get an erection( operated in a room filled with sweaty shirtless men trying to raise a hand cranked crane).

The sperm gather ,as if they are parachuters in a World War II film. One of them is Allen, who fears what’s out there, as you hear about guys hitting against a rubber wall,or perhaps it is an homosexual encounter!

The film is very funny , though some may be offended by some of the humor(rape jokes,gay humor, lines like “This is what we call a beaver shot”. ). That said, if you are going to see an R rated film with this title, you shouldn’t really be surprised .

The film was again a big hit for Allen, making a profit 9 times it’s $2 million dollar budget.

The film had formerly been available on VHS on Key Video .In 2000, MGM released with an acceptable Region 1 print.

The Twilight Time print seems sharper than the film has looked for years, though there is strong grain in the original negative . The film is presented in a 1080p High Definition ,1.85.1 ratio . The audio is English only 1.0 DTS-HD MA. The sound is clean and acceptable,with the dialogue clean and clear. There are also optional English subtitles,that follow the dialogue and action perfectly. This comes in handy if you wish to listen to Mundell Lowe’s score on an isolated track.It is a perfectly serviceable though hardly memorable film score.Still , it is nice that the option is offered.

Julie Kirgo has written a nice essay enclosed in a lovely booklet that is a Twilight Time specialty,wherein she points out that the film was a hit with almost everyone—except Dr David Reuben. Some people just don’t have a sense of humor.

I am aware that Arrow Academy in the U.K. released a region B only version in September ,2016. I do not have access to that print, but I do know it lacks the isolated music track.

If you are a fan of Woody Allen (as I am ) or enjoy wild comedies, you would be well advised to pick up TWILIGHT TIME’s Blu Ray of EVERYTHING YOU WANTED TO KNOW ABOUT SEX .

Recommended.
Kevin G Shinnick

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DEATH LINE from Blue Underground Blu Ray/DVD combo

DEATH LINE (aka RAW MEAT)Blue Underground Blu Ray/DVD combo (DEATH LINE ,K.L. Productions/released by Rank (U.K.)1972; A.I.P,1973 as RAW MEAT ). color. 87 minutes. Region Free. $39.98 https://www.amazon.com/Death-Line-Limited-Combo-Blu-ray/dp/B06ZZZN1TS/

“MINDDADOORS!”

The 1970s was a time when horror films were changing. Hammer Films biggest hits were their t.v. based comedies,while their final pairing of Peter Cushing and Christopher Lee was the barely released THE SATANIC RITES OF DRACULA . Traditional horror was on it’s way out ,as major studios would soon be pouring millions into the type of films that smaller studios used to make .,among them THE EXORCIST (W.B.). Still ,there were still several intelligent and interesting British horrors made although they too got minimal releases outside of the U.K.,such as THE WICKER MAN (British Lion)and DEATHLINE (K.L.Productions,released by J.Arthur Rank in the U.K. ,aka RAW MEAT via A.I.P. in the U.S.).

 

When people start vanishing in the London subway system ,the police ,led by Inspector Calhoun (Donald Pleasence ,seemingly having a grand time in the role) is put in charge of the investigation. What he discovers involves a cave in from the late 19th century and cannibalism.

The film was writer /director Gary Sherman’s debut feature (he had made a short film in 1966 called THE LEGEND OF BO DIDDLEY). Sherman had the original story idea which was expanded by Ceri Jones into the screenplay. Producer Paul Maslansky had previously backed Michael Reeves debut features (CASTLE OF THE LVING DEAD (1964 Italy,released by Tigon in the U.K. and Woollner Brothers in the U.S. IN 1965;and SHE BEAST (1966 Italy,released by Europix in the U.S. in 1967)as well as John Hough’s debut SUDDEN TERROR(1970,MGM- EMI,NATIONAL GENERAL in the U.S. 1971),so he was a producer willing to take a chance on a creative novice.

 


J.Arthur Rank Film distributed the film in the U.K. where it had some success as a co-bill to the Mark Lester starrer NIGHT HAIR CHILD . However, in the U.S., it was re-titled as RAW MEAT in 1973,with a misleading poster that made it seemed that the underground was swarming with a group of near naked zombies,and the film did sluggish business.

When it was released to television in the early 1980s ,it was in dark murky prints and edited for broadcast. It seemed to have been completely over looked in the U.S. VHS release marketplace, only getting a bare bones (get it?) DVD release by MGM in 2003.

                                                                      BARE BONES-get it?

 

Now ,BLUE UNDERGROUND has done horror fandom a great resurrection, restoring the film and releasing it in a BLU RAY/DVD All Region combo pack.

 

The film has been cleaned up and given a new 1080p transfer from a 2k master,restoring it to a Wide-screen 1.85:1 / 16×9 ratio . The film has some grain,due to it’s low budget but the miracle that the lighting crew did on lighting vast areas of the subway with little lighting equipment is addressed in the commentary track.

Indeed, the commentary track is one of the most fun and informative that I have heard in some time. It involves director Sherman, producer Maslansky, and a.d. Lewis More O’Ferrall discussing the genesis of the film ,its cast, shooting and distribution. There recollections are quite vivid for a project that they worked on some 46 years years ago,and you can sense the affection that they have for the project.

One interesting bit was the cameo by Christopher Lee . It was hard to shoot a dialogue scene between he and Pleasence due to their height difference and so the director used it to his advantage ,for they shot the men in separate takes, and the camera edged higher on Pleasence to show that he was being diminished by his bowler hatted superior, Stratton-Villiers, MI5 (Lee).

Donald Pleasence is credited for a lot of the humor that the character he portrayed displayed in the film.The actor seemed to have been universally revered and respected.

 

Also discussed is Norman Rossington (best known to American viewers for his role as The Beatles ‘ manager Norm in A HARD DAY’S NIGHT(U.A.,1964) but in the U.K. he was a very well regarded and well known performer.

Actor Hugh Armstrong is  rightfully given credit for his exceptional sympathy that can switch to savagery quickly in the role of “The Man”. I doubt he ever forgot his dialogue, as his lines consisted of the one phrase :”Minddadoors” (Mind The Doors,which was often shouted as the doors on the railway carriages closed) .That he can put so many different feelings and emphasis on that one phrase is a credit to his acting skill.

The film script had to be submitted to the London Underground for approval ,and so a false script was provided and given approval. The film’s U.K. release poster also caused some stir with the London Underground as well.

Vic Flair’s original Transparency Art

Interestingly, Marlon Brando was attached to the production but dropped out when his son Christian became ill.

Back to the BLUE UNDERGROUND release. The sound DTS-HD Mono / Dolby Digital Mono .It is perfectly adequate and quite clear,with no need to play around with shifting speakers.

 

Tales From The Tube – is a short video Interview with Co-Writer/Director Gary Sherman and Executive Producers Jay Kanter & Alan Ladd Jr.

From The Depths – another short video Interview with Star David Ladd (grandson of the legendary Alan) and Producer Paul Maslansky.

Mind The Doors -An Interview With Hugh Armstrong. The charming gentleman talks about how he became an actor and his role in DEATH LINE, which involved a lot of improvisation.

Also included are original RAW MEAT TV and radio spots ,both U.K. and U.S. movie trailers,and a posters and still gallery.

If that isn’t enough for you ,there is a marvelous bonus collectible booklet written by Michael Gingold of Fangoria as well as author Christopher Gallo (THE FILMS OF DONALD PLEASENCE http://www.bearmanormedia.com/the-films-of-donald-pleasence-softcover-edition-by-christopher-gullo).

The DVD cover can be reversed ,as one side is for DEATHLINE and the other is the RAW MEAT poster.

The sound DTS-HD Mono / Dolby Digital Mono .It is perfectly adequate and quite clear,with no need to play around with shifting speakers.No Head Splitting Sound…

DEATH LINE was screened at Lincoln Center as part of their Horror Series in 2002, and director Guillermo Del Toro declared it to be one of his all time favorites. That is a pretty major endorsement for the film.

I think that if you pick up this BLUE UNDERGROUND release of DEATH LINE, that it may become one of your favorites as well.https://www.youtube.com/watch?v=CNVVjYhketY

Highly Recommended !

Kevin G Shinnick

 

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