Professional Documents
Culture Documents
Incredibly Strange Films
Incredibly Strange Films
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Book Design:
Andrea Juno
by
TABLE OF CONTENTS
INTRODUCTION
INTERVIEWS
FRANK HENENLOnER
8
18
3b
TED V. MIKELS
58
RUSS MEYER
DICK BAKALYAN
172
YOUNG PLAYTHINGS
175
WIZARD OF GORE
..,,......
FILM ESSAYS
7b
88
177
178
90
DAVID FRIEDMAN
102
DORIS WISHMAN
110
BlAST OF SILENCE
.., ...... -.
179
DAUGHTER OF HORROR
..,,..._
181
SPIDER BABY
182
GEORGE ROMERO
..
,,..._
llrM_..Ipel....wor
JOE SARNO
GOD TOLD M TO
..,....._,,,_
DIRECTORY
186
LARRY COHEN
114
MISCELLANEOUS
206
212
140
214
143
217
14b
218
INDEX
GENRE ARTICLES
BIKER FILMS
lty Jim Morton
J.D. FILMS
lty Jim Morton
LSD FILMS
148
151
by Jim M.non
MONDO FILMS
153
.,, ..r4ako
SANTO
157
by Jim Morton
ED WOOD, JR.
158
SEXPLOITATION FILMS
lbO
EDUCATIONAL FILMS
lbb
169
est
1l1e value of low-budget films is: they can be transcendent expressions of a single
person's individual vision and quirky originality. When a corporation decides to invest
S20 million in a film, a chain of command regulates each step, and no one person is
allowed free rein. Meetings with lawyers, accountants, and corporate boards are what
films in Hollywood are all about.
So what makes films like Herschell Gordon Lewis's The Vizard of Gore or Ray
Dennis Steckler's The Incredibly Strange Creatures \.Vho Stopped Lil,ing and Became
Mixed-Up Zombies worthwhile? First of all: unfettered creativity. Often the films are
eccentric-even extreme-presentations by individuals freely expressing theh imagi
nations. who throughout the filmmaking process improvise creative solutions to
problems posed either by circumstance or budget-mostly the latter. Secondly, they
often present unpopular-even radical-views addressing social, political, racial or
sexual inequities, hypocrisy in religion or government; or, in other ways they assault
taboos related to the presentation of sexuality, violence, and other mores. ( Cf. George
Romero's Dead trilogy which features intelligent, problem-solving black heroes, or
Russ Meyer's Faster Pussycat, Kill! Kill! which showcases tough girls outwitting-and
even physically outdoing-sexist men.) 'l11irdly. ocotsionally films are made of such
unique stature ( Cf. Daughter ql Honor) as to stand \'irtually outside any genre or
classification, thus extending the boundaries of \vhat has been done in the medium, as
well as proYiding-at best-inexplicably marvelous experiences.
It is all too common-indeed, a cliche-for otherwise \veil-read. thoughtful people
to deplore "violence'' depicted in movies such as the ones discussed here. Yet there is
no direct eYidence that the mere viewing of a film causes crime; in fact. a film may well
act as a ''safety valve" pretJenting its occurrence. In any case, viokncc cannot he
eliminated through repression of its reprcscntation; in fact. there is e\idence we han a
primal need to express ourselves violently, just as we do so-involuntarily-in our
dreams. \Vhen there's an accident on the highway, our immediate. uncensored instinct
is to stop and stare. But ... thert.' is a crucial difference hernten the artistic representa
tion of violence ancl its \Villful commission against another person in actual life:.
Balinese have for ccnturies enacted. e.Ytreme}' vioit'nt dramas touching on primal
social issues. yet historically they are among the most peaceft.il peopk on earth.
Obviously these dnunas have served a cathartic as well a."' poetic function. In \X1estl'rn
civilization, the history of painting (from early medi<.:,al depictions of martyrs and the
allegorical landscapes of HierOI1)1Tius Bosch up to Goya and Francis Bacon) is replete
with torturl's and hloody dismemberments. TI1e Bible itself depicts almost e\cry kind
of atrocity and sex crime-yet dol'S one go out and rape and kill after reading the Bible?
In our society. the conditions that create rapists and murderers do not stem from the
creative interplay of our fantasies-tor well-balanced people there is an enormous
difference between a.fantas,y and reatizv. Murderous inclinations already in an indhid
ual are not triggered by viewing one film-that is far too easy an explanation. Film
censorship is a simplistic, backwards approach to profound problems in our society; it
is much easier to bandage the symptom than to cure the deep-rooted disease. 'fhe
sickness of the rapist-murderer may stt:m from a number of causes-economic repres
sion (ghettos), violence in tht: family. t:ven biochemical imbalance. But whatenr the
causes, film censorship is not the cure.
This volume focuses on ulihailed tllmmakers whose work dates primarily from the
sixties and seventies. Most of the films mentioned are classifiable into
f'\:\'0
genres: gore
(violence) and sexploitation, although the best transcend such facile labeling. Certain
sexploitation or gore filmmakers (such as David Cronenberg. who already has had rwo
books written about him) arc absent because of previous publicity or inaccessibility.
Many wonderful, more mainstream t1lmmakers, such as Bunuel. Polanski. Keaton, Fritz
Lang and Val Lewton-and even entire gt:nrcs such as Surrealist/Dada films andfi/m
nniJ-are not detailed for similar reasons. This is not a completist's volume-many
other American movies. plus a \vhole other \vorld of films from Hong Kong, thc
Philippines, Mexico, Spain, etc. remain to he explored and experienced. Harher. it is a
presentation of the continuing creatile dilemma, with specitk emphasis on the
problems of artists counter to the status quo. Ht:rc the filmmakers themsdvcs articu
late their philosophies and histories while offering views and insights applicable to any
creative medium. rn the world of lmv-buclget filmmaking, it is still possible for the
imagination to reign supreme.
-V. Vale and Andrea Juno, San Francisco, 198')
as
here not for the magnitude of his creative output, but for
his thought. Henenlotter's views on the entire process of
independent filmmaking include careful consideration of the
moral aspects of presenting violence, gore, and sexual devi
ancy; his analysis of this prickly area of aesthetic ethics
forms an important core of the following interview.
Additionally, Frank Henenlotter is a broadly knowledge
able film historian whose perspective on obscure movies
costs too much money to ship two films. And that used to be
the joy of the '60s-when I was going to the movies you
see
came out; the only films available were Sound ofMusic and
bus terminal and the first thing 1 did was go to Market Street
It reminded me
so
much of
but I'm still not used to the fact that these films that I spent
few other people in the theater and they went nuts seei ng
A:
} People uho used to search for rare occult books get a
similar sense of dismay when tbey become atailable in
cheap paperoack editions-
the film-the star had a square afro. Every time the monster
appt:arc:d I thought Lhc: bakony was going to come down
people were just screaming!
FH: I used to. I'm less of a junkie now, only because of the
Now, fme-1 can sit here and run a tape for them. It's a lot
easier!
A:
} Although . . I first sau Dat"io Argento "s Suspiria on
uideotape-turice. But uhen /finally sau it in a theater. it
was like seeing a complete)' different fli m FH: -and hearing a different film-the soundtrack is
outrageous.
W:
A:
} But there ll'e also aspects releant to the plot that
u'f!re blocked out in the tideo-like a unman in the back
ground of one scene uhom I had net1er noticed before. Also.
the color changes assume much greater significance on a
large screen.
FH: The video you saw may have been a bootleg, although
that doesn't mean it'll be better when they officially release
it. Deep Red (also an Argento film) is out, and the cropping of
that film is quite poor. blowing a key scene at the beginning. I
really dislike that
sort
Belial (from
Basket Case)
would clean up. Of course, you could onJy have two shows,
because once word of mouth got out about what a dog the
there's plenty more like that out there. maybe not as funny or
film
was,
was
I loH
...,.
.
fh
... --..... ... ..... .. ..., ..,
yeu ..W ... a talleoltlllld--a ....
...... nast .. ...., ... .. . ... .....
. ..... actualy .. to .... ,...... off
....- to .,. ...... this
rt _.. ......._. footlle
so
was
a delight after
was
they would segregate the audience. I've got this great press
Criswell plays Bela Lugosi who was !ong dead by then, but
know it's going to continue like this until they run out of film,
et1er
meet Ed Wood?
real)' mulerstand
actual)' lotoe their
films.
FH: Sometimes they think the films aren't very good and
wonder if you're the one that's bent-I mean. does it count if
your IQ is zero and you like their film!'!
Hopefully.
market them for film buffs, rather than as sex films. Then we
can all sit around and wallow in that filth and to me they're a
lot dirtier than any porno is today. because they had such
unhealthy overtones, plus usually very ugly !XOple. too. I
have one trailer with a bc:autiful girl next to a hideous fat man
with hair all over his shoulders and back (he's also probably
one of the backers of the film).
I'd love to see more nudist camp films, too-another dead
art. In the one I saw, all the strategic areas were coverc:d by
convenient bushes. It had a very artificial look as everybody
was very obviously posed.
walked 2 or
The Tingler.
lots of tush. but even when somebody bent down they had to
bend down
te1y carefully.
ishjngly ugly people (mayhe those were the only people who
age in front. And both of those films I saw when I was about 9
would take off their clothes in those days). But that's part of
(usually your favorite tllms arc ones you saw as a child) and
want to see with their clothes off if you saw them in the
had the buzzers under the seat. My eat did not \ibrate.
thankfully. or
I was petrified: I
ing, or. you must have fallen asleep for a long stretch and
footage
In "-'
A}:
films,
10
must have seen 7be Wolfman and said, "I just saw a horror
see any film that Stephen King's name is attached to. I don't
sell porno or horror films. no one under 17's allowed into the
don't care about them. I'm sure I'm not missing anything
some obcure nudist film from the '50s and I'll go way out of
That's not an issue yet in this country, but I'm sure it will be!
Jake emotion.
the blood off your face!" And there are stations that won't
play it! I mean, come on, folks-who are they protecting?
This is what kids love! The only ones to be offended are the
leave the house. get into that car, dose the car door. start the
<:ar and the car would drive around the hlock, all in ont> long
A:
} And thyre not bannin[!. Miami Vi<:e or Dynasty-
continuou hot -you knew that. And \\11erc <:1st: could you
get such
Vet >its
1m
time scTing Cat: /;)c-it was horing just watching the /miter
for that.
1'1
...
flm
, .,
the ones playing the theaters. I mean, there are prints missing
more-out of all the nude stuff at the end. Every time there
was
horror film? 111c economics of the industry are such that they
Gordon
up to his eye. going ...I don't know, but I don't really want to
couldn't afford to. Film costs (lab costs, film stock) have
Sf!llf!re)',
may happen is: a lot of the low-budget and gore films may
escalated
just pull arms and legs off ladies- I would shoot just for
ties. Now they equate "X" with sex. When the rating code
first came out, X meant an adult film (but not exclusively a
weren't junk. They've all been re-rated "R" now. I don't know
You dub everything in later on, which you also have to mix at
why horror films fall into that category; it's quite obvious
the same time. If you were doing music you'd have one hand
were all at least an hour long and all very heavily plotted.To
11
horror; you were never quite sure what.I'd sit and write what
I thought was really funny comedy. but everybody would
think it
was
unnerved; you get the sense that the film is desperately out of
hell. He's asking me. "Do you want the eyes to do this, and the
Strange vocation.
them who are now dead. which is pretry creepy. I've put
tor and screen and all that.I don't show them, but I also don't
and you could ask your local dentist for money. I have no
work: "Ten years ago. these babysitters were ..." and tht:n
we
folks?"
The costs started doubling while we were making the film.
We shot it in 16mm and blew it up to 3Smm. I was real
to
was
film (after that sleaze outfit that first had it went under). all
the gore footage had been printed in England and it was
beautiful; all the light and colorwas back and it wasn't dark at
all. But, I would not do that again.
The cost of the blow-up is comparable to shooting it all in
3Smm. Except, you ha,e to rent the 3Smm equipment which
is really expensive, and you have to deal with ugly things like
unions and teamsters.Younger people I know who are start
ing in film always say, "Do it in 16mm, because you always
know someone who owns the equipment!" It's still cheap to
edit in J6mm; you can edit in your bedroom, and everybody
knows someone with a 16mm camera. 3Smm is a whole
different problem, but that's the only way /would go next: I
just want a better image-same rotten stories, but a better
technical gloss' I would like to be able to move the camera
around, too. We had to create pace in the editing-an old
Russ Meyer trick, but I would have liked to have moved the
camera just a little bit, folks ...
A]: Basket Case did okay?
FH: It made more money than it had any right to make!
While it's not exactly a household word, it's gonen more
comment than I would ever have expected.
I ve no sense or concept of money. but you have to have
common sense. If I only have this much film and I have all
these people here. I don't want to look like a damn fool and
not get around to their scenes. Now, it's a pleasure to be able
to pay to have decent monsters made. I don't even care what
having them say witty things. But how many times can you
have a teenager wittily say, "Let's get laid! (and fast, because
exist today.
A]: That's the sad thing-it's almost as if this were a lost
art FH: It won't be lost as long as people talk about it, write
about it, and as long as it's on a videotape.
A]: But bow can this be replenished?
FH: Anybody who comes in here, if I end up getting
friendly with them, and sit them in front of a TV set and put
A]: Yes. But sadly, bow many of these offbeat films will
come out in 1985 or 1986? That's why it's !leY)' encouraging
to bear your story1-bow you just went out and got a
camera and did it.
FH: It's also encouraging that we have two major video
companies who want to put up the money for this next one.
didn't care what I was writing and it really flowed and it was
FH: The total must have come to SI60,000. But the film
videotape.
A]: 1/ozJ(! gimmicks like that ... How will you handle the
theater down .
FH: I'll send the goriest version I have to the MPAA any
way, because they're totally against any independent, totally
FH: No. But it's such a small community in New York that
you get to know people, and people ask you for favors, and
an X.
own films.
(As dubious a
.... .. ,......
.. ....
........
with me!)
A]: Hou do you support yourself?
AJ: Wby?
off that it had been playing midnight movies and they hadn't
forget it, I'll do something else. That's why when I'm asked to
cut a trailer for somebody, usually the answer is no. But also,
cutting until you get your R.And they cba18e you J1 000 or so
to do this each time. You have to pay them for the honor of
you want to help out?" It's always been just terrible, and not
hearing them say, ''We hated your film, by the way. We just
13
just spewing out, and you have no control over when that's
any un-rated films.Do you mind if we put an Ron it?" You say,
weeks trying to put what I just crihhlt'd out into the Engli!>h
"No, we don't mind, as long as we don't know about it." lt's a11
out ways to get out of plot problems and figuring out how to
get out of this and that. I aJways carry paper and pencil with
the solution hits, and if you're not ready for it -well, you have
and-1 don't know what triggers it, but all of a sudden I'll
scripts ever came about, because boll' can you unte a script
have to write it down, write all the notes and that stuff.
first? It's like going to a painter and saying. "We won't buy
you the canvas or the paints until you first tell us what your
frontier.
thing. That's what I would like to see, although that may not
ways, mixed with blood and violence. What I'm talking about
like to see. Maybe a film that totally defied every taboo could
don't know. You allude to it, but you can't disgust them with
it. You don't use words like "entrails" or "bloody stump," you
cial hassles.
think it's great. I'm not crying, because if anybody gives you
FH: Yes, I had to send away to Kansas for that SPK tape.
begin with. So, I'm sitting there cackling as I'm typing: "If I get
What I liked about the SPK tape was: there was no heavy
But
as a
t.n-year-old kid I
.,.._. t.tw...
the
real.- ...
111Gb-
I knew they were real. But how did I know they were
real-they didn't tell me they were real. Why is autopsy
When you finish the film and send it to the company they
say, "Godalmighty, look what we have to put out on video
tape; this is just hideous. But it'll probably sell at least 25.000
units right otT the bat." So, it's all a con job, right? Just to get
kill somebody and then start pulling things out.But, I'm more
films that have no blood in them. But that's the appeal of like.
it, but at this point I have far too many problems I can't cope
music.
FH: When I saw the video I thought, "What a fabulous
thing; what a strange way of using music. Who would make a
Henenlotter's apartment.
the cat
one, but how do you real)' deal with it?You're just looking at
was
I have
traditional)'
enacted
lJf!r)' t iolent. Ear) ' recorded l 'sual art like tbe Lascauxcat!f!S
the ef
fects of hoiTOr?
...
why you loved the Three Stooge s-you knew damn well they
okay. The real stuff I'm always attracted to, but I don't want it
just have blood and gore and have a good time. That may be
really screw me up, that I can't come to terms with. It's not a
corrupt and wrong. but I don't care. Having the police confis
exciting.
Henenlotter's apartment.
16
Henenlotter's refrigerator.
irony is that half the films we talk about already disturb the
he'll come out and say, "Hey, folks, I really did do all that."
normal person . . .
was
nudity with horror before, let alone with that level of pro
was no
You're
filmmaker who on one le11el, achietl(!d FH: Stress what a small, insignificant level it is, because
I'm really embarrassed by the amount of hype Basket Case
has gotten. It's not an important film A]: But it's representatitl(! that a film can be made now
u#h a kind of genuineness.
phony, yet very effective. Didn't that go a lot further than you
and
know what I mean? Cutting off nipples . . . the fact that it was
Comment said nice things about Evil Dead. ( I 'm sure that
films)
17
W:
Se
1963
Blood Feast. It featured a Playboy brunette whose
II VIS
that?
1831
you have scars the skin is stronger than where you just have
18
Litling Venus.
In
you don't feel you're losing face by helping the crew sweep
19
was
that I
was
a home-movie!
was
the crew credit for writing that film because I didn't feel it
20
Joe Glutz, like Woody Allen, often loses his viewpoinl altoge
the Ancient Mariner, "a sadder and a wiser man he rose the
arena, like the fellow who wrestles alligators and has just lost
his left arm but still has his right arm, so back he goes the
set of brains saying, "Hold it! The people in the audience will
I ._,_.
the rats through the maze. What are the limitations? Number
one, I had no budget. Not ever did I have a budget. Once I
was through with those first two pictures I never shot
another film with a union crew, which is one reason we were
able to compress so much inlo a film without spending a lot
of money. I remember screening Moonshine Mountain for
AVCO Embassy, and the fellow said to me, "What do you have
in this film?" I said, "Under 5400,000" and he said, "Oh yes,
uh huh." They don't know! I didn't have I/IOth of S400,000
to
be a comedy!"
first two films went bust. Oddly. those films would not have
alood Feast.
Ul(lS
pictures cost!
--i ng
BETTY CONNELL
22
inept actors.
A}: Weren 't most of them your friends ?
don't you put me in one of your pictures." and I'd say. "All
right." but I wouldn't give them a lead. This myth -that our
of this world, and their acting isn't any good either. What they
HGL: No. I'm not a student of film. The guy to talk to about
have is polish.
was
Assistant Cameraman on a
was
a perpetual
casual
view
could lift that camera on any crew we ever had. And in the
gone beyond it, but that uras the equipment ure had. If our
growing in the land like the creeping blight. says that a film
film, as in fine art, is that these people spawn others who have
they
hand-held and shot with existing light. they're 2/3 of the way
didn't qualiJJ'.
were
so
we
people's offices saying, "Please hire me, " which is what you
do if that is your goal. You see, I always had a great good time
was
making these films. and I never felt that this was. as appar
not mean you're going to get 20 times as much money in; nor
Feast in 1963 HGL: Dave Friedman had worked for the film distributor,
Irwin joseph ( Modern Film Distributors), who went bust.
His background was that he had been a publicist, l think with
Paramount. He and I became quite friendly. I fe lt that Dave
was a master of campaigns. Dave and I literally taught each
other the business, because I had
no fear of
me;
the technical
if a camera quit
we'd
and it'd
shooting of films.
In the campaigning of films, although my background had
I'm going to shoot 1be Life of Marco Polo (god help me), I
props I could never possibly get. ( But I don 't need scholar
fantasies. ) But withgore, you need one person, and you get in
Pierre
was
at all because nothing was bared below the top half, and they
Lucky Pierre
35mm.
was
was
us,
bosom. And that's all she had. I felt that Virginia Bell was a
freak, but freaks also are a reason for making films. She was
some kind of a burlesque star, but again, that's an area that I
don't pry into or care about. If Eli jackson felt that her name
on the marquee would sell some tickets, god bless Eli jack
film ). That was part of our motivation. I don't have that down
son. I'm the hired Hessian; I come in and kill and then go on
film! We sat down and made up a list of the kinds offilms the
Two
Thousand Maniacs.
24
cast of Blood Feast were the same people who were in the
story?
gave
that film
was
thing Weird.
'lhll cult
..,.
was
so obviously
was
perfect
some kind
of humor?
of
am
A]: Rght
i
now the French are taking an academic interest
Feast,
which
Blood
was
Fuad Ramses drags one leg. It's really funny, because there's a
really meant to do. It's odd when the analysts start to take
chase scene at the end. These police are chasing him, and
was
he's dragging one leg, and they're never the right distance.
They passed him once because they didn't get the instruc
tions straight!
few of these people bother to ask me. as you are doing. They
HGL: l don't share that view. The reason I don't is this: I'm
not a film historian. I'm the kind ofjerk who sits in the theater
MP: Do n 't you think that when people saw Blood Feast,
They don't want this to happen again' And just in case this is a
Gordon Lewis-
63rd
& Halsted.
picture
In a
hurry,
and these guys are hootin' and hoUerin' and slashing the
seats, firing bullet holes at the screen, then on comes that
"tongue" scene, and all you can see in that theater is a bunch
of white eyeballs!"
they've got it, they don't have it. That's the thing about a gore
Beach. The Suez Motel was typical ofa whole string of motels
that tine that north beach. It's a so-so kind of place: not
the Suez Motel, in all its glory, standing about 5 or 6 feet high,
25
tO
them. Many of the good things in our films. the good things
because they're afraid of what they'll see. But the one thing
body on the crew or in the cast who said, "Why don't we . . ."
cheated!
MP: v don 't people make films that
reatzv
work,
the llagll
tor, who will squelch it before it gets to the First Assi stant
years. I don't know where you heard that little tidbit; it has
entertained. "
that you
UI(!YI?
maybe ifyou
help!
HGL: It's the St oengali syndrome. but t he audience refuses
to play Trilby to your Svengali. It's really a tug-of-war. a hattie
of wits, and nobody is very well-armed in a battle of wits' I
think that it is much more basic than most people accept as
being basic.
What I always tried to do was to say to that faceless
creature looking at the screen, "You're going to walk out of
.
this theater talking to yourself . That was the key. I maintain
while, because I've seen other films of that type where I the
there.
MP: It seems like the kind of success your films batJI? is
usually associated with a strong independent company
ubere someone s
i definitely leading . . . where you don't
HGL: I'll tell you what else we don't have-we don't have
5:00, therefore
ll'(lS being
shoun. dressed
_, ..
Starring
CONNIE MASON
P/oyboys foorit Playm<Jie
, THOMAS WOOD
JEFFREY ALLEN
was
the censor
A}: Willam
i
Castle did that; Ray Dennis Steckler did low
for sex; they weren't geared for blood. By the time we came
was
around the second time, they had amended their statutes and
their attitudes. But of all the films I've made, I think the best
was a picture called A Taste ofBlood, a Dracula film. It seems
on. We often had a casket, not in the lobby, but outside the
leaving home, and then you read in the paper that one of
and all that was primed on them was "You may need this
when you see Blood Feast!" And people would come just to
get the bags! It's astounding what motivates people. So, yes, I
accept in 1963 ?
films?
HGL: Somebody in San Diego once organized something.
by some labor leader who said, "Sir, I would never vote for
viewpoint- technical,
acting,
plotline
(it
was
heavily
scripted ), where Blood Feast was more like. "Well, what are
bleed!
most intenlieu'f!d litling director HGL: Yeah, I'm a cult figure, if posthumously- ! say that as
a joke. Some people think I died years ago.
BOYD: I'm glad you didn 't.
HGL: [laughs] Maybe at the box office, but not in person.
BOYD: I first sau Gruesome Twosome abo ut ten years
ago and thought it u>cts one of the best mouies I'd erer seen.
HGL: Good, good! Wish I could see Gruesome 7il'(Jsome
again-that one I can't seem to find. It apparently has van
ished into the night, but I'm sure these films will all start
surfacing again. About two months ago somebody sent me a
videotape ofjustfor the Hell ofIt, which I thought had been
lost forever. so it shows just how cloudy the crystal ball can
be.
BOYD: Wbat happens to f
ilms?
HGL: Negatives tend to vanish and then suddenly reap
pear. I have a film called Moonshine Mountain ( not really a
gore film, it's more country music; there are one or two gore
effects. but not many because basically it's a family film ). and
the negative of that simply disappeared. It was not in the
laboratory where it was supposed to be. About two or three
months ago. a man in California named Jimmy Maslin was
buying the rights to some of the old films ( he now owns
Blood Feast and 2.000 Maniacs ). He was going through
somebody's vault in Chicago and came across the negative of
Moonshine Mountain. The owner of the vault had never had
any relationship to that picture. made no explanation as to
how he got it. expressed some surprise that it w;t sitting
there ( though it was clearly labeled ). Meanwhile I had been
raising hell all over the country tl")ing to find thb negative.
So, it merely proves that the film business is an odd business
indeed.
cldn't ...... . .
ar-e
gone foret>er?
28
Blood Feast.
It seems like a great deal of crea tit 1ty U'f!11t into yourfilms.
same is true of the scripts and the direction ofthese films; the
lord knows what they teach them there. I'm certain I'm not
charm
to the person who made it. People are making films for
you";
instead
reaction.
That's what's missing today: no one thinks in tenns of
audience reaction They make films like Heat'f!n 's Gate. They
You walk into a videotape store and there's shelf after shelf
sounds so dull. Some you'll watch for a few minutes and just
the box office, we'll still have videotape and cable and foreign
hold you. The ones that grab you and hold you are the ones
that the producer, the director and the writer have thought
oysters.
was
repel you. But some of the ads leave you saying, "Ehhh . . . " I
have no quarrel with those that attract or repel you, but those
was
29
even
(aloetl Feast).
BOYD: No.
bygone days?
HGL: Well, as a matter of fact Blood Feast was a recapitula
peanut butter. but I don't know what! Other than they are
both items. Horror and humor are allied in that one can
and that was done not only to confound the audience. but
y?
substance on earth.
BO>V:
BOYD:
Do you
It's
macho
to
wound
somebody
and
to
carve
and out of the other chocolate milk). I felt that was the
ultimate in black humor, but there were those in the
audience who didn't understand, and didn't see-well, they
seem
humor.
HGL: Oh, sure!
BOYD: You called Gruesome Twosome the most bar
baric humor since the guillotine went out of style.
to destatistidze the
was
BOYD: It's been said that horror and humor are the same
thing.
Do you agree?
booklet that
someone
30
dynamics of hypnotism-
HGL: Yes, I
yourself. You cannot appeal to all the people all the time.
am.
they appear
to be-
of
to go through the maze the way you want them to. And that
everyont else did. I still play the piano. I would not call myself
a professional musician.
BOYD: W'hen you
U'(>re
people. [laughter]
TIM
OruMome
TwOHIIM,
forSA--.
continu e as
who cheat you on box office receipts, people who cheat you
on distribution receipts . . . I grew weary of the game. For
example, there was a time when I enjoyed arguing with car
dealers over the price of a car. I don't enjoy that anymore; I'm
nique of filmmaking.
So that really was the reason.I can still make a film; I'm talking
to some people now ... not aggressively, but rather passively.
When they'n: ready, I'm ready.
center ...
accused of being a racist. But I'm alive and well, and I'm
32
FILM
PRESSBOOK
SYNOPSIS
on
weekends is a
are usually the top contenders. Wimer of the race gets first pick of the
"stud line"-a strange bunch of
men
one
Arriving at the strip the following weekend. the girls are outraged to
find a bunch of hot-rodders using the runway for auto drag-races. A
bloody fight ensues, with The Man-Eaters victorious; the bays' gang.
headed by the mean and cakulating Joe-Boy, is left gasping and
bleedi ng on the ground.
Karen is called by Ted. the decent bay-friend whom she abandoned
when she joined The Man-Eaters. Ted has heard about the fight. He also
has had word that Joe-Boy's gong has sworn vengeance, and he warns
Karen to leave the group before there is violence that will leave her
permanently marked. She thanks him for his interest, but says that she
is in too far and cannot leave The Man-Eaters.
When the girls return from the next race, Karen is horrified to see Ted
in the stud-line. She chooses Ted. and he forces her to leave the building.
which, he has learned, Joe-Boy's gang will attack that night.
However, Joe-Boy has another idea: he will destroy The Man-Eaters
one
him tenderly, then was aver to the gang. One by one, they lock eyes
Wlitey's big motorcycle and ride off at top speed. Deliberately, they
with her. She walks to her cycle, a.nd as she sits on it she realizes that
have left the other cyde. Joe-Boy jumps on it and follows them.
But the girls have strung a wire across the rood, neck high. From just
beyond it, they taunt Joe-Bay as he approaches. Too late, he
sees
the
wire. It slashes through his neck, decapitating him. A.s the girls duster
around Joe-Bay's body, Queen inadvertently drops her chain-belt.
Ted, alone in
Bock at their lair, the girls are about to ride off when Ted drives up.
free once again for lock of concrete evidence, tearing down the
dismounts, and when she was over to him, he pleads with her to quit
Wlitey tell the camera of their future plans and ride off into the
the gang-to walk aver and tell the others she is tlwaugh. She kisses
clistonce.
33
holding
up the
sound
PARTIAL FILMOGRAPHY
as Dllllnoa:
One Shocking Moment, 1965
1M Prime Time, 1960
Uving Venus, 1960
1M Adventures of Lucky Pierre, 1961
Daughter of the Sun, 1962
Nature's Playmates, 1962
BOIN-NG, 1963
B Feast, 1963
Goldilocks
1963
W:
So to me, I just don't get along with the people in this town.
24 he had produced,
been
I'm not a coke freak, so already I'm t:liminated from 95% of all
the social parties here. And at the same time. if I come up
with an idea of something I want to do, they think I'm nuts. So
I'd rather just be on my own.
15 cameras,
BOYD:
STECKLER:
on]
on
Las
t.ve to
what
STECKLER:
put my camera in the back of the pick-up and shoot, and do all
did not fit here; I don't know why. It's the people in
general-! don't get along with them. It's their attitudes ...
I'm
not saying
I'm
a great
filmmaker
or anythin g; I try to
You should buy tools for your trade-for what you want to
to
new
suits, but
believe: get an idea, go make it. just do it. It's not easy to
make any film. Even if you have 20 million dollars, you've
never enough money; you never get what you want. And the
lot of great talent that's never been exposed and never will. A
more money you have the more pressure you have. At least
36
rhe
INCREDIB
ORGAN-STECKLER
ND BECAME
MIXEDup
Producllon
,
ZOMBIES'' 'I
SlARRll'<v
CASH FLAGG
IN TRO DlJC I NG
CAROLYN BRANDT
"RDDliC1 4NO DIRECT [I) f.IY
in-how'd
they
even
get
on
the
N L SHOCK
A FAIRWAY I NTERNATIO A
Hollrwood!)
GEORGE J. MORGAN
location?/ That's
I:DLDR
7bf! Crealltm
RELEASF
other ones are 1>'taning to pop up, like Blood Shack, a little
14
film about an old house out in Death Valley that was haunted
were my mo'ie stars; we'd just make things up. We did a little
These are all films made years ago; all of a sudden everyone
They were just fun things. Today. kid1o r .. or 15 are out with
Homestead
in any of ti.Jese?
thing I did.
si,e. At that timt:, it 'llS all fun and games for me.
Fet>er is
all coming around; I can't explain it. They're not really great
S38,000.
films, but I never had any real money to make them with. The
man for Fnmzy. starring Tunothy Carey. I shot for him, and
that was mr first move into the mo"ie business out in Califor
the
\\"aS
BOYD:
\f'JJ?
The Creatures or even 1be Len1011 Gror! Kids they say. "Hey,
37
tudes arc ditfercm. The Lemon Grore Kids was actually made
for kids, but ewer there it has a "British" humor with the same
kind of crazy stuff they do in En gla nd only spicier.
There's a crazy short I did that people are dying to get
,
god, I must have had a hundred phone calls for it. It was the
first thing I ever did in Hollywood, called Goof on the Loose.
After 20 years l still think it's great. We did the whole thing a t
Echo P-.trk i n Hollywood; it's a little Buster KeatOn/Charlie
Chaplin-rypc short that nms about 8 minutes . It would have
run 10 minutes, but we got chad out of the park!
BOYD: Do you control all the videocassette releases?
STECKLER: The only one I don't have control of yer is
Creatures: George has to make the decision as to where he
wants that to go. The rest I have control o n. We're trying to
moft!J
I
;
$
to
As I lit ohW mayflll11 8lf mort
make better flmsl then I c. do what I
really wt t6 do In flit ri.lantim. I Wfive:
... W.., 11 IINIIke lt. Just do it.
.
Rat Pftllk i s one picture that should play thai circuit, c auSt
'
an d there werc>n't
fill)'.
There:: was a point when I would jump out of the screen with
a f.tirl just likt in the movie, and we used to just/7111 'nn nut of
38
Strange Creatures
1 S min utes
the huinc. The>re all great guy. all of them. It's amazing
how many people you work with go on to higger and bttter
thing. But all these guys had great talent when they were
working ,,;th me.
F I L M
P R E S S B O O K
S Y N O P S I S
radio that thrre homicidal monio<s han escaped from a nearby insane
hitchhiker, who turns out to be the notorious Mort "Mod Dog" (lick
and then t ome out. Let's sec what )Oil cando... You'd tell the
(she
dose a
Mand-in for rca but never got a mo,it- mle during I S years
brutally slays Dennis, steals t soiHmon's cor and drivH into Los
Saxon (BRICK BARDO) and his wife Liz IUZ RENAY), a wild and riotous
Barhara
Eden 10 put a wart on her check' Rut it was fun: really it was a
lot of 1\111.
. Mmics today-if
they didn't haw special effects they'd dk I'\'C nner had one
special effect in anv film I\c t:\cr done One reason wlw
som
critic id. "1y god!" -he'd nc\'er S<.en uch horrif}ing and
in the
nightimc .
I'll tell rou what happened to one of those actors. Herhie
Robins.
who
w
as
stri ctly
imprmitional a ctors in
Angeles.
That night, at the Brentwood home of would-be movie star Joe
orgy is in full swing. J has thrown t girls-galore party to influenc:r
film produ<er George J. Morgan IHIMSHFl into giving him thr lead role
in Morgan's next picture.
Meanwhile, Mod Dog stalks the late night streets of downtown Los
Angeles and meets a shapely young brunelle named Erina (ERINA
ENYO). They go up to her apartment. After making love to r. Mod Dog
s berserk, IXcusing Erino of being o sholl'ltiHs tromp. In his roge he
uizH a pair of scissors and fiendishly murders her. He flees the bloody
scene
as
and
phone t police.
J and Liz SoJton have on argument the next day over ali t money
spent on the party-money ty cannot afford-and Liz f'\lns off to
at on old house in the area which they orr considering buying ond fixing
up.
At I house, while searching for the owner, ty mret up with the
three H<oped maniocs. Herbie, Ktith and Gory (HERB ROBINS,
and
CA.ROLYN BRANDT), who plan to marry the next week. They go to look
K1TH
O'BRIEN and GAilY KENT). The mod men maliciously ossoult Ron and
Coral. finally lopping Ron's head off with
on
axe ond
dealing Carol a
similar fate.
Joe Saxon and producer Morgan show up ot the roadside cafe.
Morgan tells Liz he's going to use Joe in his nut production. The thrre
moniou burst into the cafe, assault Liz and Lindo and terrorize Joe and
Morgan. A frre-swinging. axe-hurtling fight breaks out. Joe and Mor
gan subdue Keith os Lindo poisons Herbie's coffee. Gory chosH Liz up
into the mountains, with J in pursuit.
Gory ollocks liz atop a mountain peak as Joe orrivH on the scene.
Joe and Gory engage in a hand-to-knife combat while Liz escapes, only
neX1 morning). I
said, "I know I'm out ofthe film." I said, "You're not out ofit.
Use your eye the way it is." So the next time you watch that
movie, watch his face. You can sec the way his eye was, but it
Mod Dog by a
dever ruse and the police dose in. Mod Dog enc:ounters Officer Tra<y
(LONNIE LORDI and after using him as o hostage, puts a bullet in the
valiant officer's brain.
Mod Dog kills on iiHlO(ent ronc:her ond steals his horse. The police cut
off
Mod
Dog's OVMUf
of
chose
all the
to fall into the evil hond1 of Mod Dog Click, searching the oreo for his
brother. Gory plunges a thousand fret to his death and Joe rO<H off to
kled gun bottle, Officer Wtst is forced to shoot Mod Dog in the head,
terror in<ittd by THE THRill iCILURS and ltoving producer Morgan frre to
cuff Jot,
Liz
and Lindo
in his
new
movie.
39
up Z
ombies, the kind of thing I go for. Remember Black
Orpheus? I
'63.
there. When
ever there's gwsies, I'm there. When I was a linle kid I was
always around them. Ferris v.11eels, anything like that-that's
for me. So when I made The Creatures I had all those ele
ments in it. I think I had a little bit of Black Orpheus in me.
and I think I stiU do. We're all involved. at times, with some
film in our mind. Ewn the guy who made Orpheus (Marcel
film
6'4":
going for him. Then in the '40s there were no more West
30
Creatures.
doesn't mean he's washed up. I think he's in his prime now;
he kept himself in shape and look!. great -60 years old. Most
guys at
60
belly]:
fantasy?
tl'as it you
\vas
were
killed
when
they
went 10
Europe and the plane went down? She was the g.irl \Vho
missed the plane.
BOYD: Wou! Hnll' did you bappeu to find her?
tlms.
f
desen. Now I'm a desen rat-1 lon: the desert. I didn't live
Reading.
there
when
first
saw Sabam.
lived
in
wa.<>
have been great! But it's never going to happen unless I make
one up there . .
to him?
super.
A very unusual
. toilet seat v.'hile the guy Sa)'S, "Keep the door open while I
watch."
person. One thing about Atlas I'll never forget: right in the
You
The secret to a lot of movies is called.film chemstry.
i
est film about chemistry that was ever done. I mean the
he said, ''TI1at's for you. You don't owe me nothing, just keep
going." And he walked away. That's never happened tO
again. Never.
On the last day of shooting on the beach,
me
runs
is
said to him,
ATLAS KING
Killers?
art
.
. ... .
STICKLER: Let me think-why did I do that? I guess
was
was probably the only part I
was
Atlas
and
Cash
in
The lncr..Wy
Strange
PROTECTIVE to
CAROLYN BRANDT
Creatures.
SENSITIVE
BRILLIANT
UNUSUAL
sang. "Vickie," in
unions?
TICKLER: There wa<., one union guy who chased me
h<>ot:.;" and they said, "Oh, right. your boots. Well . . they're
.
Mill l'>n the dummy. . I said. "Where's the dummy?" and they
hobt the sets up from the Mreet and put them together in rhe
returned. \X'e couldn't use the scene at all, and I had lost my
temple ( because that whole midway scene was just a set. you
boot besides!
know ) All these people dmin by had been cing these sets
goin up into the air So. '\"I.Tiile we \\ere filming
we
put
small. The thing I remember ro this \'Cry day is how cold that
water was-it
\\'liS
( how the hell could he hear "Cur!" above the ocean?) just
kept it running. and-
warn
ing
for
of
us and
40 seconds
in the movie!
dlslinctitlf!IOOking
She was only 17 yean. old at the time; he couldn't even walk
where I faU off into the ocean. we had a dummy dressed like
I saw her two yean. after the mo,ie: she walked up and
me
42
that
through all those: d<)()rs; I had -.hot that and wasgetting ready
malce his one and only mO\ic:-never could put another one
together after that.
Ttm and
rehel and he
to :-.hoot the first scene "'ith Bonita I Vralked over to her and
'iaid. ''Oh boy, you're on: And !'>he said. 'Thh. could we do
liked that. He and James Dean used to pal around a lot. too.
He said James Dean wasn't from this planet anyway and just
my '><.'t:nc.: tomorrow?"
he's got
Marring in a mottie.
to .
gig. he's
." She whined. "J knnu. hut come on. Ray. he'll he
She was on the flying carpet with Tommy Rettig and I was on
the set. and I met her. (She was actually one of the genii's
Carolyn and I got jobs a!. ushers at the: lvar theater I talked
1he
I W35
crazy. And while we were there the union came in: I'll never
forget that. One guy took a roll of film right out ofthe can and
threw i t down the street- we lost a reel of film! We went
after them but then dropped the case. i t 'VI'3Sn't really worth
it: they suspended the guy from work rather than have us sue.
(You don't really want to malce enemies. ) The budget on
betfl'een the first part ubere the stars are such ''beat,"
" I
h:L..,n't done a
go uayhack .
"I
said.
did the number." I said. "No. you're: now going to play the
.
pan of the star. . She said. "But I can't do that: I just did the
rm.,
laugh[ and . .
lstans to
singing this song. and it was so bad; Titus was playing with
the ice cubes. and I said !more laughter ] . "If you went in that
16 years-we
roal.he!>
met me: in New York. then gaw me a call and asked if I'd like
to shoot a film for him. ! laughed
movie ) and said, "WeU, you're too big for me to talk back to."
( If you
He got the money from Mike Ripps. who had made Poor
Wblte 7rash. Very successful film! Mike took a mmie that
nobody wanted. added
wa.
'
Ripps renamed it Poor WbUe Trash. for years it was like the
AT LASr A NEW
KIND OF
H()lUt.OR MCNIEi
30
l'hcrc:fore, Batman and Robin (or Rat Pfink and Boo Boo )
came out. The film was ca1Jed Rat Pfi'lk and Boo Boo. but
the guy who did the titles misspeUed it and I couldn't afford
to have them redone. so I left it.
BOYD: Tbats great! Such a perfect title: Rat Pfink a Boo
teacher, Ray!" Then she said, "WeU, I have to tell you some
thi ng. All my life I dreamed of being a mo\ie star, but I never
had the guts to go out and do it." I signed her on the spot. It
Boo.
STECKLER: He wanted another S'>O to change it. so I said.
"Never mind!" Two things I liked about Rat P
fink and Wild
Guitar are those 2 numbers on thc beach at the end. And wc
did 'em in like 2 hours each-both of them. We just went to
the beach with no plans. no props. no money fo r anythi ng,
had a good time for 2 hours and left_ And those 2 numbers. I
think. am hold their O\\n anrwherc1 Major studios make aU
kin of preparations to go out and do beach party scenes.
"Let's do this again, I want to fall into the water." And they
said, "Thcre's no water here!" I said. "Well. we're going tO
make it .. We went to a nearby Bor Scout camp and got
buckcts and huckets of water and Don Russell ( he was the
hunchhack in Creatures) dug the ditch And ( 1'11 never
forget) ht: said. 'TU get a hump for sure doing aU thi'i
digging!" That's how we did it.
R BOYD: . . At the beginning of set!('T(I/ diffenmt f
lms,
i
you siJOu Hol)'ll'OOd. the stars on the sideu'Q/k. and the
Capitol Records building STECKLER: Yeah. I did that in Wild Guitar. Rat Pfink and
7brlll Killers. Oh weU . .
I made a ffiO\ie for some people in Texas that I cant get a
_
print of anywhere. lt
rl>ally
was
was
was the only movie she ever did, but she \\-'35 great. The movie
was produced by a 65-year-old woman, Dorothy Sunny.
scene I didn't
explain my movie! I got reaUy pissed off. took m)' name off
fun because I thought the script \\'35 kind ofhokey. But I liked
it; I liked Junior-he was a nice kid. He wasn't a great actor
44
to play the character with a lot more class, but I made the
making guy protecting his boss's money. And that's when the
next thing was "Cash Flagg" (I'm not sure where the "Flagg"
came from). When I made The Creatures I used that
name
Arch and I were always kidding about this; until the day he
died he was fascinated by the
was
south with Rat Pfink just for having the black guy get in the
said I wasn't going to edit it for tO years. Well, I just edited the
first 2 reels last month. Not many people can do that: make a
movie, put it on the shelf for 10 years, and not even edit it! I
said, "How
can
40 lbs, he's taller than me, and I've got a fight scene with him
start out the movie saying, "The year was 1974 . . . " and
at the end; for Christ's sake, you don't want the hero beating
research! "
else, that guy. He's a little upset that I waited 10 years, though.
Cash Flagg (lay Dennis Steckler) does the biclcling of Esmerelda in this
scene
DrlL!f!rS
I said to him , "I told you ahead of time that it was going to be
10 years until this picture gets out." I knew it right then and
Guitar you can see the poster for it right on a table; the movie
was made right before Wild Guitar. I loved making it; nice
films.
little film.
In
46
you know what I mean? I had all these kids coming In, and this
mention his name ) who said he really wanted to work for me.
Finally I said, "I'm gonna take a chance and give you a role and
what to do. (The guy had never made a movie; I had sent him
a book
on
3 days"
looking at the footage and saying, "Ub ob. " And I thought,
"Either start over with a new actor or just do it and get it over
day anywhc:re. but I just sold it to England and they loved it.
what we have; see what comes out of it, and do the best we
3
3 scenes that are probahlyas good as
The guy called me and said it's being dubbed into Spa nish;
and he's got a deal for Ireland and all the Scandinavian
Fet 'er, 7be Lemon Gt'Ote Kids, Blood Shack and Hoi)'U 'OOd
Strangler.
thing to eat. When we came out we saw this guy lying in the
gutter. I said, "That looks like Coleman Francis."
lon
Haydock
i.n aleM
IMck.
who carne out. chased the kids, and got hypnotized. I said,
"What are you doing, Coleman?" (it was Saturday night, by the
"All right." And I told Coleman ( I had seen him and he's a
way, and I
was so
was
S20 and
"9:30."
8:30 and set every
he said, "I don't want the money. I'm an actor; I want a job."
there and it was cold, man. I said, "Well, how would you like
thing up.
the end of the movie, and I knew I had made a dud to start
9:00
carne; nothing.
9:15
"Tbat's him!" He
"Meet me, uh . . ." and I had to think fast because I didn't have
us at this laundromat."
looking at me, but-one thing I liked about him
was, he never asked me questions in front of people; he'd
wait until afterward. Then Ron said, "What are we going to
do?" I said, "Let's shoot a scene down there because it's
deserted; it won't cost us any money. If we shoot in the
Ron
was
S20
work, looking the best that he could look for S20. ( He didn't
48
FI L M
P R E S S B O O K
S Y N O P S I S
I mad<: my
acting dt:hut. We were at this count f)' club where they had
this grc.:at IX>OI and someone said. "Somebody should throw
someone in the pool.'' I voluntc.:c.:rcd, so Richard Kiel threw
us in. Richard Kiel. who p l ays "Jaws" in James Bond movies,
played Eegah. At the time he was another starving actor and
Arch actually wrote the screenplay for him because he used
to rent a room from Arch and I guess he got behind in the
rent. caus<: Arch said, "I'w got to make this up somehou"
so he made the movie Eegah! That was a fun movie ro make.
l'\'<: got to tdl you this stOI)' . . .
Wt: were making Eegab! in the hot summer, I 20 degrees
i n thc.: P'J im Desert. At that tim<: Wilos Gapaniks, who's done a
lot of hig movies recently, was tht director of photography.
Arch Hall asked me if I wanted to assist him a nel l said, "Sure!"
( I had just finished lf'orld 's Greatest Sinner: I had met Wilos,
and really liked him. ) So. we went out ther<:. In daytime you
load film in a hlack changing bag; it was so hot that my hands
takt: the.: S20 and buy himt'lf a boule; he rook it and made
himself look good. )
were melting in the hag. In the heat the film got toerysoft, and
I sw<:atecl a lot, so it wasn't easy to load in the magazine. And
:.:c.:m:,
greu in that part that. tht fc.:w time wc.:'\'e screened the
tilm all of a sucldc.:n !>Omeont can1c.: up and said. "What are you
mmic.:.
doing I turned around and saw this guy with curly hair,
You know, omc.:rimc.: you don't do what you sc.:t out to do.
about ""'0 yc.:ar old. And I said, "Oh, we're just making a little
Had I shot that xne flrt before I made the mo\it. it would
have.: been a compktdy ditkrtnt 1110\'ie. But that w;ts the last
asked. "\X1lat's that guy doing \\ith the clubr I said some
thing like.:. "Oh it's just a . . . " ( I was reaching for words. ) And
yet in another way I'm not sure.:. lne only people who can
he's smiling at me. (At this point I was a little naive ahout how
Cokman Franci
wa .not.
wbile be:5 u m1dnM ? ll1ere are great stars that drink too
much and there are great star who're on too much elope. But
working; they stay away from it, or else they wouldn't work.
know what you guys are doing. Ilut it's okay; be my guest!
Big Ed Narzak . .
Hav<: fun. kid. Good luck in your carec.:r." and he got in his car
and drO\'C.: away. Arch came clown because he saw him talking
Fine, who \>:as the big guy in the Sgt. Bilko shows. He asked
me:. "What name do I ha\'t: in the film?" and I said, "Big Mac"
shoot here." Arch said. ''Vou know who that was. don't you'"
Proper
other weird fac<:s I found around town. After I fired the actor
way, hc.: had me going and Iowd evef)' second of it. 'Cause
he'd have: been the first on the hill making the movie if it had
( \"\110
people ). all of a sudden I 'm playing the role, and it's Like half a
the guy that had the energy! They l011ed their work. That day
was
that
was
my really great
49
and into it. Once there you look around and he's got every
and we had a great talk one night, after his series was finished.
looks.
All-Girl Crew.
boatful qf girls.
BOYD: "Vin txon " and "Lonnie Lord" STECKLER: Yeah, those were his names; he made them
up. He was a writer, too; he wrote the original screenplay for
1be Deprat1f!d.
u e
it.
Lemon Gr()lJe.
The Creatures.
screenplay for
everything, but I think he's got a lot more going for him than
mean it's hard to live with a person for one day. So anyway, I
RON
50
doted
April 2,
article
Stick; l n d i e Drops
Variety
1963.
II
It's probably better that I didn't use that title in the long
stole that crazy title from him. What's crazy about having a
long title? People thought I was nuts when I came up with it.
538,000.)
And
II.
STECKLER: Yeah; just for fun I'll make it. I'll use the gypsy
wardrobe that's left over from my next movie and start again.
Just last week I found a girl who looks almost exactly like the
changed the title if they had just asked me politely. But it was
original girl who played the gypsy, Bette O'Hara. She could be
the way they went about it: letters and subpoenas and all that
people.
BOYD: Recently, at the plasma center in San Francisco, I
saw a young Cash Ragg lookalike.
Scene
from Blood
Shack.
for -.twen
Ill
BOYD: I wish.
STECKLER: Because I went with a lot of 'em. It was great.
One time a woman collapsed and they had to take her to the
hospital; it'd scared the shit out of her. At another theater
they'd planned an afternoon showing and I asked, "We're
going to do this at a matinee ?" Well, a lot of little kids
showed up; I jumped out, and
51
the ferris wheel. etc. I've been putting things aside. They have
carnivals in Vegas once or twice a year; if I shoot at night it
will look great. I've already got the gypsy motor home. I'm
slowly putting it together; I haven't figured out bow I'm
going to do it or just what, yet. I <..<m' t find many members of
the originaJ cast; I don't even know where they are anymore,
or where to begin to look. I tried but they're aU gone; they
disappeared. I have no idea where Atlas King went; I never
saw him again after The Thrill Killers.
( Oh,
scenes I'd never seen before from Edward D. Wood, who was
supposedly the "worst" filmmaker of all time. But maybe they
should re-evaluate his work a little more, because I don't
think they see all the underlying currents there.
tain films. most "film critics " bm't! cheated tbemseltJes and
if you'd never seen it?" He said, "Well, it was mainly the title."
In his book he called it "the worst title ofall time." But when
seen this movie before I had written this book, the things I
would have said in there would have been . . . " He really Liked
Awards, saw alJ my movies except for Rat Pfink and he was
But even so, how can you write about something you've
never seen? It's not fair. Even if you write something good
about a film you've never seen, you're still misleading the
people you're writing for.
BOYD:
F I L M
P R E S S B O O K
S Y N O P S I S
Boa Boa search for Ceebee in their Ratcycle. After many harrowing
escapes they finally rescue Ceebee and end The Chain Gong's reign of
terror-only to face the fanged fury of KOGAR THE APE, escaped from
a jungle compound. But Rat Pfink saves the day as well as Ceebee from
the escaped ape and all zing over Ia the city-wide parade held in their
honor, as once again Rat Pfink and Boa Boo prove that Crime Does Not
Pay!
suspect.
STECKLER:
nice work in those Edgar Allan Poe films- 7be Masque of the
52
the movie was great. They put some really terrible title on it.
Talk about low-budget movies where somebody tried to do
something really unusual - he did it. And got slammed down!
whole thing: "My, name, is, Harry. " What do you do, Harry? "1,
murdered, fifty, women, last, year; they, did, not, like, my,
looks." Oh, okay, Harry. Now if you did a silent movie and
Harry's fact; came on with a subtitle that said, "Harry mur
dered 50 women last year," whoaaa is what you'd think.
Because you'd never know that when he opens his mouth
he's a turkey.
BOYD: I wanted to
rebellious.
CALIFORNIA
- - - -
234 82S9
DOORS OPEN
1 1 :30 PM TONIGHT & SATURDAY
9:30 A.M. SAT. MORNING
PePer
...
.. .
.....
Hollywood?
54
movie without a script, and pull it off and get it out, doing
without his kid in the picture. But I can understand that. You
never get rich. Even when you make a movie that makes a lot
RAY: Yes, and they made a movie about him: The Last Time
ing them. TI1e nicer you are. the more they'll cat you alive!
wrote it, it was a hit novel; the only problem was that he had
never got a thing for it; the studio never gave him anything.
Mitchum played Arch Hall to a "T". They got together for
dinner a few times and Mitchum watched how Arch acted.
Arch had that lazy walk, lazy attitude, very lazy. Like he had to
make a real dedsion to get up and get a glass ofwater-reaUy!
If you ever see Eegah!, watch him running across the desert
in his shorts. He used to make sure the lens would only cover
a small area so h e wouldn't have far to walk. Then he'd sit
down.
BOYD: don 't any Arch Hall movies ever show up?
RAY: I don't know. I don't even know who got them. Did
you ever see The Choppers? That was his first movie. Then
work for him. After that he asked me to direct a film for him
came Wild Guitar, then The Sadist which was later re-named
with his son, Wild Guitar. And he said, "Now, you mustn't do
what the script says." But since I'd never directed a movie, I
early Lemon Grove kids to the movie, Arch didn't like them at
all; he thought they detracted from the story. So he cut out all
sitting on
chase on
named
1966.
as
The
Incredibly Strange Creatures Who Stopped Uvlng and
Became Mlxeci-Up Zombies. It's the story of Esmerelda, a
sideshow gypsy fortune-teller who likes pouring acid on
men's faces and locking them up in her secret cages. With
help from her sister Carmelita and companion Ortega, she
hypnotius a young freeloader named Jerry (Cash Flagg)
and forces him to commit murders. When he no longer
proves useful to her, he too is given the acid treatment. No
explanation is ever offered as to
and reality.
Originolly
The Maniacs
are
point,
World's Greatest
Sinner; other assignments included being camwoman on
Saeam of the autterfly, 1't.. Velvet Trap and The lrotk
Atlventures of Plnocchlo. He also worked on music videos
to save the girlfriend by fuming into Rat Pfink and Boo Boo,
Rat
Plink drops the melodrama, turning into a slapstick comedy
Whatever its faults,
Survival
Ists (tentative title; after o conflict with producers the film
was completed by Ted V. Mikels), and
one
of his future
projects is o sequel to
time as
FILMOGRAPHY
their film!
Supel'
Cool, o hard-boiled detective story starring (who else?)
Cosh Flagg. Unlike most of Steckler's films, Supel' Cool (also
known as Body Fever) seems to hove o carefully structured
films during the '70s. He started off the decode with
plot.
Steckler's other films during the '70s ore less inspired.
Blood
Shack (also known as The Chooper) hos o few Stecklerion
lay Dennis
Steckler today.
Photo:
Boyd lice
57
W:
ed V. Mikels has
to be remembered
one
as
which is very moral and very decent. It may not be easy for
go."
BR: So many people hat one idea they beliet!f? in. one
thing that s theirfatiOrite. and so on earned to et 'l!'J' fet,el of
their
life . . .
Squad
on
choice.
together can have a place to stay where they can learn and
memorabilia
...
here), I don't say, "Leave." But I'll say, "Well, if it's not
working, then don't prolong it." What uorks uorks; uhat
doesn 't u10rk doesn 't work. If they're here and they're happy,
moving toward the direction of fulfi llment at a stronger or
faster pace than they would elsewhere, then obviously it's to
their benefit to be here. And if I can help them learn some
thing, they in tum can help me: answer phones. xerox
scripts, work in the editing room with sound effects, etc. I
can teach them many things; I probably have started 400-600
people in film, just in various categories. It may be something
simple, like showing them how to make apple boxes for the
grip department. And then they get enthused, and first thing
was in high school I was told that there are seven females on
earth for every male, and I want my seven! So, I'm willing to
take care of them, and teach them what I know best , which is
filmmaking: any area from scriptwriting to still photography.
men,
out and do what they need to do. Whereas uomen can put all
58
starring
doesn't work when it's communal and there are men and
ask me why I don't ever take a day off. Well, my greatest day
too!
can
film.
beginning of time.
$1 31,000)o
pm, if you're not here we expect a call. and so on. It's just
being responsible. Then they can choose the path of life they
were putting on make-up for the first time, and so on. And it
was fun.
trip to Catalina. And when the dollars are tight (which they
most often are), it's a real belt squeezer.
was
was
was
I was twelve
fifteen I
was selling a
the show
was over,
was
you could stop motion, snap your fingers and make things
at it that way. I've got over 100 picture credits, of which more
BR:
lVM: When I
bathtub-did all the still stuff. But movies started when I was
never made their first picture ! ) So, it's just as tough to find
was
of being at the right time and place with the right financial
lot of people.
I learned that to many people, making a film is exciting! I'd
60
F I L M
P R E S S B O O K
S Y N O P S I S
1VM:
lady I mentioned could not have made her own picture until
she was here and saw what it was all about. After we shot the
footage, in the editing room she could see, "Oh, that's how
this comes together. Now I know why you did that with the
camera." Somehow they've got to have the opportunity to
team. And very few of these opportunities are available in the
colleges.
When people come from a college to work on a picture, it
seems they have only a theoretical concept ofwhat it's like to
really make a film. Practical, day-to-day filmmaking without
total financing is so different, that they're usually at a loss.
Therefore, they have to become production assistants, where
they're picking up permits, racing around delivering checks,
buying MarksA-Lot pens-that sort of thing. Because even
though they might have five years at an accredited motion
picture college, they still don't have anypractical knowledge.
Places like A.F.I. [American Film Institute I offer a bit of an
opportunity to jump in, but usually in a situation where
there's 500 or 1 ,000 people who want to get involved, and
room for only 5 or 6. Maybe only 5 or 6 people are required
most of these are 16mm or Super-8mm projects. Also, the
logistics of their situation ( time, locations of their homes and
so forth) won't allow it.
All the more this points up how, in a period 25 years ago, I
had my housefilled with sleeping bags and people who were
eager and anxious to make a film. I had to take care
of them:
feed them, fix their flat tires, get them new spark plugs when
they needed tune-ups, and so on. I found that by keeping all
these people close we could hang together with our energy
and our intensities to create a picture. But when they all
scatter and go to their own homes, you've got to get on the
phone, and if everybody's calling everyone else 20 times a day
saying where to meet and how to get there (with people
saying, "Gee, I haven't got any gas," etc)-that's how the
concept of the Castle ladies originated. 1bey
can
adapt
Scene from
...... OrtiY ef
.... ......
.. ...
other price. They say the ingenuity and creativity of the film is
what they compare, yet when the creator of one film is
working with S20 or $30 million, the comparison is really
unfair.
We built a corpse-grinding machine for maybe S38. If a
studio were building something like that for a psychological
terror picture or whatever, S38 wouldn't even buy the coffee
they'd drink while making the machine (which would proba
bly cost S 138,000 ). Our corpse-grinding machine consisted
of lawn mower blades which had been scrapped, plus odds
and ends-some red lightbulbs that were 39c, a piece of
discarded plywood, things like that. [laughs]
However, the total concept of entertainment is ( li.ke in
magic): If you can make someone believe something, and
make them enjoy it, they really don't care whether you've
spent S38 or S 138,000 on a corpse-grinding machine. When
they see this siJiy contraption-a tube, and a body with
clothes on (presumably a cadaver) sliding in one end and
coming out the other end as hamburger, they laugh, and
that's what the whole thing's about.
61
even the ones I made without money. But you can't get your
doesn't work. And when you're making a film you face all the
14
grandchildren, six
kids . . . [laughs)
BR: You have 14 grandchildren ?
1VM: Yes. I don't let them call me "grandpa" until they
come over and exercise with me. Because I exercise very
don't feel any older than when I was about 20. I think there's
out of this tunnel that leads toward old age. Everyday I think:
destructive.
them an income .
falling into someone else's context where you just 1VM: Drift away! The only detriment or shortcoming I
can see is: when you're not financed, it's tough. And getting
money back from a film after it's made is just as tough as
getting the money to make it with. Tough! You get ripped off
all over; there's piracy everywhere in the world. Just from
knowing what I do about gros ses and theaters and box offices
and television and videocassettes and so on worldwide, I'Ll
tell you that the handful of pictures that I still own and
control have literally grossed tar in excess ofstOO,OOO,OOO-
The Doll
Squad.
down . . .
you
don't want
Devils.
A little horror picture is lots of fun to make; you work hard
making it. On the other hand, pictures I enjoy the most are
was
Blood
0111Y of
49,
49
and those
1 1:00,
3:30
would sell. That film expressed purely the part ofme that
was
if
nothing urgent, so . . .
man and his wife who are college teachers spending the
and at
3th
tower. On his first day the guy witnesses a murder, and the
risk venture. There are people who do, but theywant double,
guy's trying to find his wife and she's out feeding squirrels
was advertised
S9S,OOO
can make
63
was
ters advertised it
was
was
dancing girls.
It
was
a typical
a man who actually lives in the Utah desert with 14 wives, and
what they do with their life. It's a nicely done, very warm
Then I did a story called Alex and His Wil--es. It's a profile of
FOR TH EATERS
1 . AMBULANCE i n front of theatre with sign "For those who can't toke
the horror and shock of 'The Corpse Grinders'."
2. NURSE in lobby of theatre with cot with sign "Our nurse is available
for our patrons who ton' t toke the shock and terror of 'The Corpse
Grinders'."
4. MAN pulling donkey with sign on each side of donkey reading "I'm
going to miss 'The Corpse Grinders' at the
___
5. Run ads
in
the
tlossified
columns.
Here
is
suggested
copy:
Theatre.
WANTED! People with guts who dare see human bodies ground
before your very eyes by "The Corpse Grinders" machine!
WANTED! People who dare sit thru the bloodiest-weirdest film ever
mode, "The Corpse Grinders" now at
---
Theatre.
___
Theatre.
7. NO PATRONS dare be seated during the film until after the first
human body is ground by the corpse grinding machine.
8. Hove man in Santo Claus costume walk in street with sign reading "I
just hod to come bock to see the sha<ker of the century 'The Corpse
Grinders' OR "I just couldn't wait till next Xmas to see it!"
9. WHERE FILM ploys in hot weather hove man in raccoon coot and ear
muffs on street with sign "The Corpse Grinders left me freezing with
fright. Chilled me to the bone."
__
courage to see this gory sight? On the screen before your very eyes!"
600
arm ,
who
was
64
and aren't out to take you . . . where people might offer you
in the broth . . So I sold out to him. I'd known him for a long
their homes and vehicles and ranches and so on. Then you
get support.
direct and so on, and I wished him well. But that was only
me
one
needs all the support he can get (it might take 20years to pay
for a camera). Imagine you were an artist with your easel set
often change.
and says, "What's that thing made out of? Sticks? You can't
meet her?
don't want any fires here," and takes that away. Then some
one else comes along and says, "What are you doing on this
that
gorgeous. lovely lady! I didn't meet her until seven years later.
was
was
about to do Astro
was
Zombies,
bors called the police. Now, police keeping an eye out for
shady characters is one thing, but when they come and shut
with the rest of her family: her daughter Kilani, her daugh
ter's husband and their kids. You become very close when
you make films- I don't believe I've ever done a picture
where the people involved aren't to this day good friends.
She just moved back to Hollywood after living out in the
Valley for years. I don't think she wants to stay out of the
public eye; if I had the right picture for her we'd be back in
production together again. I
was
I've always said that making a film is the easy part. From
hit full on in the side of her vehicle, and for the past two years
money back after it's been made. Last is: making the film.
TVM: Yes.
was
'
'
Tlte AJtn.I....W.S.
F I L M
P R E S S B O O K
S Y N O P S I S
O B A DIAH
The story you are about to
see
18
changed to profert the innO<ent. The film is based upon O<tual incidents
and played by the people they happened to-Alex Joseph and his wives.
All 105 minutes of (Oior adion were shot entirely on IO<ation in
southern Utah-where it really happened. Never before has o drama
with these ingredients been brought to the sueen.
All this was Q((omplished without the (ooperation of any federal
bureau. The story was netessorily filmed under armed guard ond (Orried
forth despite the attempts of the U.S. Pork Servite to deny the right of
Q((ess to publi( lands during filming.
In all respeds "OBADIAH 18" is o unique testimony to Ameri(on
ingenuity.
"The
man
Y llan to ..
..
.. a
aMi ca a ....us
.
66
A TERRIFYING,
SCREAMING
PLUNGE TO THE
DEPTHS OF HELL!
MARA
QUEEN OF THE
BUCK WITCHES,
AND HER WOLf-PACK
OF VOLUPTUOUS
VIRGINS
INVADE SATAN'S
TORTURD REAL"'
OF THE
UNKNOWN'
,,
\" _..J
li!j ZabOtln . Tom Pat ll':S;Iif .:Rat: . v CIO! Ira'I . 't\!lild"''' Ri!r-1Ar.J
' .......
.
,...
ltc1 v f.:!:I"; A.-Ttl't Sa na\
. &
,,,..,
...,
..
.
CJf z,nrtr
COLOR
pieces; if you don't have anyotherwayto get it, you build it. If
answer print, and it's a year out of your life. How many
much time. You start with writing, end up with your first
that means you have to learn how to paint the car when it's
through, you do that, too. It's the same with making a film: I
shoot, be director of photography, cameraman, work with
handle it through the answer print, then start out with the
18 to 30
musicians and
14.3
I've seldom ever started two films in a year. I'd love to; I'd
the .......
was
plot, I'd say some very startling things take place, because
67
F I L M P R E S S B O O K SYNOPSIS
BLOOD ORGY OF
THE SHE-DEVILS
more difficult than fmding the initial dollars. All your costs
escalate as you go along. You start out making a picture for
28c, and if your project looks like it's headed for a successful
dress it. Like, it's one cost to use canned music tracks out of a
write it and score it. It's one thing to do a sound mix at a tiny
or
$20
there is the control that only the major studios can exert.
grosses a lot at the box office doesn't mean you get any. There
are too many places where your money's taken: for promo
tion, for print costs, for every reason under the sun including
a bad date that's rained out that you've got to pay for, adver
tising, etc.
You may get money due you from one theater, whereas a
for advertising was lost, so the money made from one town
pays for the losses in the other. I've had reports from
instead of getting
S500
and they discuss with Dr. Helsford the possibilities of age regression
under hypnosis which Mark is to undergo. The tor warns them of the
dangers of dabbling in the block arts. He psychometrizes an amulet
Lorraine is wearing which Mora hod given her as protedion ogoinst
unfriendly demons.
After the poir leave for the meeting. the disturbed Dr. Helsford,
sensing an evil aftermath, enlists the aid of three other scientists
interested in psychic phenomena and they decide to visit Mara's home
where the meeting is to be held. During regression, Mark is shown to
hove been killed by Indians in a previous life as a frontiersman and now,
drugged by Mora, he is to be offered up as a human souifice in an effort
to conjure up Lucifer, the Devil himself.
Mora and her coven of witches are soon terrrified as an unseen
presence tokes over. The building rumbles and trembles as utter chaos
reigns. The unseen terror possesses the bodies of the young witches who
turn against Toruke and kill him, and they then turn against each other.
Outside, Dr. Helsford fights the evil within by means of exorcism and
manages to restore order and sanity, driving the evil unseen presence
away. When the quartet of scientists enter the building. all is death and
destrudion. Mark, Lorraine and all the others ore dead. Only a bot dings
to the ceiling and dislodging it, Dr. Helsford, knowing its true identity,
kills it and throws it
on
30
ness, but they can't hold up every end. Anyway, most film
lVM:
can
deal with mass volumes and gross revenues. But if you have a
the more money you spend telling the world it's a great
distributor. Then your S600 gets hit with a lot of charges, and
they'll go see it. And that's not uncommon: to spend far more
ness, and you assume that sooner or later they have to pay to
choose
titles
like
Operation
Overkill-action
oriented, ClA, martial arts. 7be Doll Squad dolls are pretty
girls; mix that with James Bondish-type artwork and you have
an all-female James Bond film. Blood Orgy ofthe SheDevils is
almost like it sounds. And Corpse Grinders -the corpse
grinders are hoodlums who grind corpses into cat food for
"Cats Who like People." It has to be very simple; how are you
If we knew a picture played a chain of 100 theaters, for
receipts, we could figure out a net film rental. But that chain
Crossed the Color Line is a story about a man who passed for
those theaters in the other state. It's funny the way it works;
futuristic, like astral space, and zombies are dead people that
keep track. It's almost come to the point where you have to
you can't, you really don't have any protection against what
will happen, from the time people pay their money to get in
years ahead, but many times I don't find the money until it's
the theater, to the time you receive it (or don't receive it). I
too late. The concepts are there, but concepts get ripped off.
didn't have gray hair when I started; I didn't have any gray
hair.
obstacles-
saying, "I've got a hell of an idea for a movie," and I stop them
lVM:
right there. They say, "Don't you even want to hear it?" I say,
change it. I tried very diligently, but I wasn't able to. Maybe
that many really new ideas. Anyway, I've got all the ideas I
BR: It's
business end.
69
F I L M
P R E S S B O O K
S Y N O P S I S
ASTRO ZOMBIES
Multilotion murders occur with increasing savagery i n a city. The
nature of these murders-vital organs ripped from the victims'
bodies-leads the C.I.A., headed by Holman (Wendell Corey) to the
conclusion that the former chief of the Astro Space laboratory, Dr.
DeMarco (John Corrodine) has succeeded in creating on Astro-Mon, a
zombie with a defective brain!
DeMarco, missing since his dismissal from the Space Center, has
secreted himself in on old mansion on the outskirts of the city; there he
continues experiments on human bodies with the aid of a deformed
assistant. Foreign agents from hostile governments ore also trying to
locate DeMarco to force him to put his knowledge in their hands. The
exotic and voluptuous Solano, working with two vicious killers,
reduces the competition by torture and threat, brutally massacring
some of Holman's men.
The subsequent multilotion of a beautiful technician at the Space lob
An Astro-Iombie attacks!
(The Astro-lomWes)
leads Holman to set a trap for the zombie, by planting another girl as
boil. The suspense tightens when the zombie attacks the girl after
Holman's men ore gone. After a desperate fight the zombie is tracked
down, bock to DeMarco's mansion.
Meanwhile the spies ore embroiled in ever-deepening intrigue, but
manage to find DeMarco's lob with a frequency rectifier. An explosive
finale is inevitable. Holman's men surround the mansion, trapping
Solano inside with DeMarco and the zombies. A bloody gun bottle
follows, with the zombies butchering indiscriminately. DeMarco is shot
down by Sotono, but not before he throws the master switch that
deactivates the zombies forever, burying his secret under a moss of
electronic rubble.
to
sages . . .
BR: Are there?
lVM: There are some places between the wall here, and
so on. And the castle is on two acresoftreesso it's hidden. I'd
put it into a period piece, somewhere around 1890.
saying, "I've got an idea for you," I say, "But I don't need any
more; I've already got so many ideas." But actually, that
depends on the mood I'm in. If I'm just finishing a picture and
most of the time all you can tell them is to do a synopsis. Got
an idea ? Do a story treatment. Then let's find out how viable
treatment?
lVM: Let me tell you what I face. When someone puts the
wants to tum it off. But when we're talking about buyers from
bad film . . . and they don't want to look to find out, either.
70
F I L M
P R E S S B O O K
S Y N O P S I S
condominiums.
Inside Umgor's SO-foot-toll wooden water tower ore rooms filled
with tanks of worms. Umgor talks to them, sleeps with them and grows
them bigger and fatter
so
of Melnick and bankrupt the town so he con save the beauty of the
trees, lake and forest from the greedy Mayor.
In various scenes Umgor kisses, feeds and sings to his Tenyo worms
while the secret M Society attempts to burn, hong. and blow him up.
A complication arrives at the lake in a silly rich family and two
beautiful teen-age girls who decide to stay at the lake for a vocation.
The pretty young daughter, Penelope, who is always sunning herself in
a bathing suit, is horrified by Umgar's clubfoot and grotesque looks.
The two teen-age girls complain, "The old creep don't even hove any
hot dogs around here. It's un-Americon!" The mother Mildred screams
at Umgor, "I wont eggs with no goo in them and my cream-filled
fudgies, you idiot!"
Suddenly one night Umgor is surrounded by the horrifying sight of
three worm-like men standing over his bed. They ore the Champion Boss
Fishing Club men that disappeared in Lake Melnick many months before
and were assumed to be dead. The leader Bucky says, "We ore not dead.
We ate some of your worms that were in the fish we caught and we
were transformed into
worm. We live under the Red Tide in the lake and no longer wont to be
like the greedy men we were. But you must bring us worm women to
mote with so our civilization under the Red Tide will grow." Umgor
agrees to feed his worms to women to give to them and they will help
him eat the crops.
A dumb waitress named Heidi eats some of the worms in spaghetti at
Umgor's tower and becomes the first worm woman. Umgor builds
cage and makes three more worm women with worms in fudgies and
hot dogs for the rich mother and teen-age girls.
Bock in Melnick the city council votes to re-zone the lake. The young
rebel Phil presents a note to the concil from Umgor that the old hermit
does hove a deed to the lake. A fight breaks out and Phil escapes.
Bock at Umgor's tower he hears a radio news announcement that
the city courKil is going to build condominiums and he screams, "I will
kill them with the deadly Ana worms! They will not destroy my
beautiful trees and mountains." He goes to town and puts the deadly
Ano worms in the following foods: triple deck hamburgers, fried
chicken. chocolate molts, ice cream. chewing tobacco and Tequila. The
city council dies one by one.
Umgor arrives bock at his tower to find the Mayor waiting for him
with a gun. A fight breaks out and the Mayor gets sucked into the cage
filled with worm women and is eaten to death.
The next morning Umgor's neck is pierced by a fishing hook and he is
pulled down to the lake by a fishing line held by the leader of the worm
men. They feed Umgar his own worms and then go to town to capture
tree women in beds, kitchens and showers. In thrilling scenes that
follow we
see
dried river beds toward the crops to eat all of them by himself. He dies
horribly
Mara the witch shows a member of her coven what the future halds
deathl In
thing has to have its proper place and perspective. I'm inter
film that's already been put into the camera. But, the unused
going to use that again. But it's not been previously exposed.
greatest return.
of footage,
composing a story
somebou.
'3,.keepspopping
started.
If you want to be a ,.
,.,....., it's like: if
you want an automollle and you've got is
a iu'*Yard ful of ,..ts and pieces; if you
don't have any other way to get it, you
build it.
even think about it, but aU ofa sudden I realized that for years
I had 7 big cables. I could think of7 in a lot of other ways, like
I've got other ones starting. too; I've got Silent Rage, Sud
den Death that I'm doing. I'm a fine cameraman, too. You
know, I'm bragging a little bit, but I've spent my life making
films- I've taught a lot ofpeople how to be cameramen. A lot
direct. produce and edit and so on. Part and parcel ofbeing a
I.
BR: Didn 't you tell meyou uere making this mol'ie out of
used footage?
T.V. Mikels on
location.
Photo:
Yale
Vegas. So I moved!
72
came in.
ir. So you can get Corpse Grinders, Doll Squad, Ten Violent
Women, Blood 01-gy of the She-Deuils, Girl in Gold Boots.
done, on \ideo.
always direct-and-produce.
use around the world, and the CIA (because they can't use
pounds, etc. There aren't any women in it, it's nothing like
those are the ones that kill you. They destroy your art history,
they destroy your soul, because you fight to stay alive while
you're trying to be creative.
Doll Squad: all my pictures are different. It's what you'd call a
decimates
20 guys at
Photo: Vale
T.V. Mikels.
not going to hit his hand on that rock, is he?" So I walked over
and asked, "Tiger, what are you doing?" He replied. " J break.
I break." I said, "Tiger, we've got a picture to do-if you hit
your hand on that rock you'll smash your hand and we'll
never make a movie." And he said, "No, I break, I break. " He
sat there for awhile and finally I said, "Tiger, you're going to
smash your hand-DON'T DO IT!" He ignored me, hit it
once
real
hard
and
nothing
happened.
thought,
'' \.-
to:; ,
men for her entire life, etc. I did the photography for her.
She's gotten several awards-in fact they flew her to Paris
not long ago to accept an award for it. Her name is Doreen
Ross.
I've spent a great portion of my life making films like
that-that I don't consider my pictures. I did the photo
graphy and worked like a son of a gun on 1be Hostage which
was
with light; that picture got critical acclaim for the lighting.
Of course my gaffers jumped in and took the credit in the
magazine interviews, god bless 'em!
V: Any problems on this curren t film shoot ?
lVMS: I worry. I worry that my meter might get kicked,
because I'm working down at light levels that are unheard
of- at very few foot -candles . . . I don't worry providing that
all of the mechanical equipment is functioning as I have
73
'
up in the world of crime. That same year also saw the release
Doll Squad.
74
led by dark
1972-a
banner
year
#1 1 on the weekly Top Fifty box office list. It's the story of a
PARTIAL FILMOGRAPHY
AS DIRECTOR-PRODUCER:
Strike Me Deadly, 1963
The Doctors, 1 963
One Shocking Moment (aka Suburban Affair}, 1964
The Black Klansman, (aka I Crossed tfle Color Line), 1965
AS PRODUCER:
The Undertaker & Hi> Pals, 1965
on
The Astro-lombles
W:
vignettes from his life, and then show the beauty of john
Meyer
ciates together and we'll shoot 'em and they'Ll tell little
Huston's story-some great film clips. The beauty of George
Stevens is not his military footage or his friends, it's the great
film clips. I have great film clips (which aren't clips, they're
condensations of all my films) but I have more-my own
particular brand of humor . . . World War II footage . . . foot
insightful.
14
21, 1922
in San Leandro,
his "break" in
23
films down to
each.
1 0- 1 5 minutes
ready
history and humor! I've been working on it for five years, I've
got a million and a half dollars of my own money in it, and it's
we
had an
to make a film just for himself. What I mean by that is: I don't
didn't think I could pull off- the writing is like the films, with
have to make any money; it's not necessary. It will make a lot
of money in video, but that is so far off, just with what it takes
Fader
Pussycat,
Kill KHII
RM: They don't seem to make them like they used to.
ual Hygiene.
RM: I'm familiar with it -remember the guy with the soft
am1 and the chancres and the guy in the crib: "Honest, doc, I
the movies.
77
Haji in action in
MotOI' Psycho.
to find; in fact, I'm arduously searchjng for two more. I've got
-::....
"
'
.;f
...
JM: She takes on a kind of mythical quality in thatfilm.
RM: A lot of people draw all sorts of conclusions about it
want the bird to flee the nest, as it were. That's the most
knew judo and karate and was as strong as a fuchlng ox. and
By and large the girls are from the show business world
premiere strippers that make four or five thousand a week, or
Beyond the
Valley
of the Dolls.
78
rean shit and the whole works. He still to this day believes
them. I think I've extracted all the vital juices that are availa
And again with Charles Napier, the guy with all the teeth
ble for a given film, and I think there's a great shot in the ass if
you have someone new to work with for the next picture. But
The girls often don't have the same kind of freshness and
evil and humor, and they can work both sides of that line.
and sneering on the other. He's had his good shot now with a
advice. ln the morning when you start up again you can sense
that someone's been feeding that chick's computer, and
you've got to try and work around it -listen and discard
things.
Anyway, to put it very simply: it's a miracle that these films
are ever completed. just a miracle. I mean the emotional
problems, the insecurity, the loss of interest after three or
four days, and all the cajoling and bullshitting and ass-kissing
and ass-licking-it's a miracle
certainly mine.
edit films.
Our Town -remember the man who would sit at the corner
1 4 or 1 5 years of age;
the sun comes up." I didn't use him exactly that way, but that
my first job before World War II. His wife gave me this
was what it was patterned after. Super guy, but never having
S8,000 a month.
S400,000,
and it all
anny buddy who just passed away, who was more brother
like than just about anybody I've every known. The one lower
with an exposure meter in it is for the camerman who was in
else in the world! She did a pretty good job with Seven
the service with me, who shot a lot of series like 'Twilight
We were married for four years or so. I think the best thing
close. It's nice to walk by them and stop for a moment and
she ever did (and not just because I was involved) was
the theater every time it's shown. She's been in a lot ofother,
.. the inl
t...
thing Eastman Kodak ever came up with. It sold for S9.95 and
wonderful lady whom I lived with for 1 2 years. She was killed
on. She was special in that area and in many other areas as
thing that got me by the short hairs. I tell you, when I got that
background.
I'm not just talking about her, but I'm sure any filmmaker
Law CaWn.
and it's not been a good idea. I guess that's one of the reasons
she liked it, she liked that whole thing of turning on people; it
why I've tried to be at arm's length with the leading lady and
not have any hanky-panky; a couple of times I did-three
was a big game and it was fun, you know. She neverhad any
.. ..... .......G ..
- - -
.. ...
. .
..ldal .. ....
..... .. .....
fucking in her time, so she knew all the positions and every
thing in the way of turning on a guy-two necessary prereq
uisites for the success of any leading lady's performance in
one of my films. But, when you get that passionate intimacy,
there's a tendency
(I
many shooting Fanny Hill- that's where I met her, and then I
brought her over. One night she decided she didn't want to
we lived together for four years and she was fine, because she
was a total sex object and a sex machine and she knew that
I said, like: 'You did it in Berlin and there were fifty Germans
81
Weepers.
then you fuck up your picture. and I ' m not prone to punching
women out anyway. Or. you can have a giant fight, somehow
the results-the only best way then is to break your ass and
lack of tmst . . .
did Et ,eand tbe Handyman and I made other nudie films, but
Teas was a huge. huge success and it's still a collector's piece.
Teas came out in 'S9 and it's still kicking.
[ pointing to photo of man] He's up in Frisco. I've done
some filming with him; we were a tight group. He was in the
army with me; he was an army photographer, so we see each
JM: \\"hen you u'Ork tl 'itb a person all day long. and !ben
come bome
sometimes-
tbere as
ll 'ell.
40
RM: No, no, the women I've known have been wm-ons.
I'm lusting all day for them. Even if I'm not having them I'm
lusting for them-it's very healthy to feel that lust. TI1ey're
JM: 7here's
bumor-
a certain almost
"G./. "
quolity to your
RM: Best time of my life, I'll tell you that. Never had a
better time- I was sorry to see the war end. People say,
Indian . . .
JM:
witb a stor
y and say, "Hey. this u'Ould make a great se.,ploi
tation mouie ?"
RM: I didn't know what sexploitation UI(IS. 7be Immoral
Mr. Teas was the first breakthrough film in the sense that it
popularized and established the "nudie." It was Number
"What" but I
was
82
was about two or three years too late with its slavery
much that whole living by your wits, with each day being a
but it
ing home; I probably was the only one in my group who felt
start a family and all that. Not me. I just: "Gung ho. let's do it
again!" Just like I feel about my art now: I'd like to start it all
ized. The others were all guys in raincoats. That's one good
over.
Hol) 'll'OOd?
RM: I just got off the train here. With the other guy that
depressing
went to the union to see about getting a job and they said,
"Forget it, we got guys that are gonna get their jobs back." So I
very fast. Video, of course, is killing them off. People can rent
went home to
industrial job which was great for me. However, I have the
son. People like to sit at home and be lazy and look at video,
uality.
herself naked, but I'm not aware of it. And I have a narration
England now.
tious,
JM:
wrote it. TI1e captions are all wrong, but otherwise it's great!
There was one photo of that great big black woman. June
just
matter-of-fact-not
trying
to
be
funny
or
they cut out two or three frames and then crudely splice it so
the action goes WHAAAP! and the soundtrack ends up harsh.
But in video you can't do that. You buy it. and you can go over
the juicy roles over and over again.
JM:
RM:
films that are steady sellers- Radley Metzger's stuff (he goes
7be
Ff:
hardcore pretty much drot! out the softcore.
RM: I ne,er suffered, but of course there wasn't really
were
prefer not to be called soft core, but there's nudity, a plot and
whatever.
body. She has a very strong folJowing now with young people.
was
83
young people today see and hear it-1 get phone calls,
"Where
can
MAH
anti-heroine; whatever.
the film!" She could handle it, you know. I never met the
family. but
something.
they
me or
me
to one or
two of the people, where you have that tight feeling and that
had a great body and a real presence), but . . . She got in with
some guy that kind ofscrewed her around, but she did end up
family. I admired her; I Liked her very much. She had balls, she
had real guts.
and the high hurdles and everything all rolled into one. And
like qualifying for the Olympics every day-it was the 440
she said, ''I'U go." I said, "That's awfuUy near to your home,
isn't it?" She replied, "I might as well" and went down there
evening, then got a good night's sleep and got out of bed at
"
lrother
oncl sister
(
conserve
water
--
84
same feeling.
raw;
the
this
Give me the good ol' American way. with lots of grunts and
musk odor that was permeating the entire room, and here
were these two women with giant tits making them up and so
I was
let"s
't:vhatever . . . .
do
something
else
here.
take
swim.
just a.-; I'm sure I carne offas being one son-of-abitch at times.
When I said earlier that it's been a miracle that every one of
these films was finished. well, every damn film I ever made
through the reflex and she stuck her tongue out at me-not
meant by becoming
all that . . . nobody to really cater to them and kiss their ass as
what we're going to do." And that girl did such a better job:
the scene with Erica Gavin and her brother was the best of
them all. She reaJiy displayed an animal quality that I've never
been able to achieve ever before -the way she grunted and
hung in there and did her lines. It was a reaUy remarkable job;
serious about it. I want you to break your ass; now stop
but there's something about Erica and her brother there that
was just
uses the word all the time. I said, "Do you mean filming
through a bunch of dirty wine bottles . . . people caressing
the scenes and did strange things. A guy named Cohen, who is a
critic for
ished that particular part about her brother and I said, "Stran
gely enough, what I've achieved on film with her and her
said what I felt so much better than I could have ever said it.
I mean. he
don't want any funny stuff o r aJI this cocksucking and every
thing else- I just want to get in there and whale away at it."
square in the face and kind of joke about it and laugh and say.
"Well. wt" did it. it's okay, everybody's friends." But Shari
And here it is, and that's the thing that I like-it's part of me.
never let me down. she was a super lady. and Ushi was the
When you see her in that scene when she's hanging onto
herself beyond the limit. So I have to say those two ladies are
abmt" and beyond any woman I've ever worked with who are
you can hang onto ), and she was just grunting almost animal
100 percent.
ore enough. The wife needs more but cannot tell her husband. One
day, after hubby has gone to work, Lorna encounters an escaped
convict in the woods. The man rapes her, but Lorna doesn't mind
at least it takes him more than two minutes to come. The fugitive
returns with Lorna to her house and they engage in more sex play.
When the husband comes home the battle is joined, and in the
confusion Lorna is killed. Throughout the film a preacher paps up,
spouting the Gospel and warning people of their impending doom.
Lorna was a hit and, like The Immoral Mr. Teas, opened the
floodgates for o host of imitators. It marked the beginning of
and-white
the field of sex films. His movies return us to the days when men
were men and women were wet dreams. Meyer likes to describe the
was
monetary,
it
matched
the
subject matter
sies. The narrator in Mondo Topless says it best: "Until now you've
costumes and sets seemed out of place in a Meyer film-in fad, two
only dreamed there were women like these. But they're real!
days before the end the producer, Albert Zugsmith, took over the
Unbelievably real!"
film and did the final edit. Meyer doesn't coMider this movie his
Meyer got his first camera at the age of fourteen and promptly
own.
used the military to pursue his love of film. Assigned to the 166th
time the sexual interloper is not an escaped convid, but one who
has served his time and seeks to rebuild his life. The husband is not a
is
pin-ups and girlie calendars, and his early work remains some of the
Playboy and graced the walls of gas stations and garages all over
America.
California desert. After they kill one man's wife, the husband
extraordinaire,
however, the
Tempest
Storm. By
this
time,
violence period is easily Faster Pussycat, Kill! Kill! (1966) The film
ing screen presence are unrivaled. The story concerns three go-go
within o year. For most people this was the first time they hod seen
o naked womon on the screen. The plot concerns itself with the
one
the ability to see every woman in the world naked, whether she is
defies description. The dialogue rings in the ear like beat poetry,
films like Eve and the Handyman (starring his then-wife, who
but by the end of the film she seems almost supernatural. The plot
became his associate producer), The Immoral West aka Wild Gals
Varia the monster. We know she is evil and will die, but we can't
help rooting for her; next to her, the "heroes" are a washed-out
and bloodless lot.
his only non-fiction film. In it, his camera takes a look at the
narrator. When the box office for nudie-cutie films began to wane,
Meyer took a big step: if sex alone wouldn't sell a film, how about a
husband, handsome but dumb, loves his wife but doesn't appre
ciate her need for sex; for him, their monthly two-minute tumbles
with deadly wit, but Babette Bardot ((f. her primitive fire-dance
86
couple making love underwater (in the bor's pool) cut with a
sex
and violence.
tive of a bush pilot and his oversexed wife who live in the Canadian
and his wife, the Mountie, and even her own brother.
fish into the both which attacks his vital organ and then eats him.
racism and
Vixen's sociopolitical
Abruptly the next scene depicts a young woman running down the
street who is picked up and roped by a man who drags her into a
river . . . etc.
grounds. But Meyer, saving the political chatter for the end, first
ship, yet Meyer steadfastly (to this day) refused to depict hordcore
Vixen was a hit, shifting the focus away from '60s violence
er's healthy cult following kept him afloat during the seventies,
more than $7.5 million at the box office. Upon noticing these
but his movies of this decode ore problematic: the elements are all
Roger Ebert, a young film critic, was hired to write the screenplay,
called Beyond the Valley of the Dolls. Ebert showed a strong
come up with the most "Meyeresque" film ever mode. When Susonn
who, much to his wife's horror and disgust, finds sexual satisfac
parody.
good nature of a Beach Party movie. It has sex and violence, rock
11
FILMOGRAPHY
sexploitation,
and
didn't
please
whites
because
of
its
blaxploitation.
After two years of false starts in other new directions, Meyer
decided to return to his familiar-and successful-comic-strip ele
ments: the isolated community, top-heavy women, promiscuity,
Common-Law-Cabin, 1967
Vixen, 1968
Erotica, 1 961
Blacksnake, 1972
Supervixens, 1975
Up!, 1976
Lorna, 1964
Mudhoney, 1965
Motorpsycho, 1 965
clique, the guys you hung out with, was called a "gang." You
hoodlum in this film set the tone and style for most of his
later efforts. That same year he again played the heavy in
Jerry lewis' fint solo film, The Delicate Delnquent, and in
the Sal Mineo film, Dlno.
lakalyan's beady eyes and smart-ass smirk helped make
him the quintessential delinquent. In 1958 he hit his J.D.
we
did . . .
The sixties saw the end of the J.D. films along with the
birth
of
the
appearances
were considerably
lice.
as
work came.
BOYD: Does your acting careeraffect howpeople react to
you?
BAKA.LYAN: People think I am who I play. Sometimes it
works to an advantage; sometimes it's a disadvantage. The
disadvantage is when they underestimate you; they think
you're what I call a "dis-dat-dem-and-dos-er." But those guys
Delinquency films.
film.
are
constantly changing
where, in with their own little clique and that's their world,
you know! My world is still out there; every day I'm waiting
kid and his problems; I played a gang leader but I wasn't a bad
gang leader. This was not a gang that went out and raped
today. Kids try to be like television heroes, but that's not what
BOYD: You
were
in a gang ?
it's about. There was a time when if you gave someone your
word and didn't keep it, you were a villain, no matter what
88
for
beefs. Today, if someone did the wrong thing, I'd go over the
table after them. My brother's always sayin', "Dick, you're
going to get sued." It's just my nature (thank god for it), that
do it. Some guys get cute and I have to set 'em straight.
shit?" and started to laugh 'cause I thought Peter had put him
was
laughing at him.
about the same size. and the cop thought it was me. When I
found out it wasn't a joke I got nervous and said, "Pete, tell
him who I am." And Pete said, "l don't know this guy; he
crook?
I never
and he got involved. When Nixon came in, I lived for 2 1/l
years in Sweden! Now. any country that can elect somebody
like Reagan-! listen to some of his statements, and I'm
floored I look at some of his old movies and think, "This guy
can not he President- God! He had both legs cut off in
basically part of the "in crowd: with all the attendant think
Practically as soon as
U.S. had to get rid of him. Now, I'm not a big leftie, but I think
VALE: .
SARNO: Yes.
VALE: Hou did you get started? You jletl ' uith the Nauy
That war was wrong from the outset. My Navy and the
dom for over 200 years against the Chinese. Japanese, and
ago.
to assist in a
people in Sweden said, ''Vou're against this war now, but you
V
ALE: So that's hou you broke into film?
W:
the
sensation
clubs !
partners
1n
pleasure !
/"
wild
bottle
parties !
Star<Jn&
AUDREY CAMPBELL
LAHNA MONROE
91
Britt
in
hat1e
a filmography
biography
available ?
SARNO: No. I've never done a biography on myself even
all these years and I've never been out of work. But I went
She was a nude model, had acted a little and she wanted tO be
him!" It turned out her boss was Neil Bogart who lived in San
was,
( I didn't
try,
V
ALE: You were writing as well ?
the other critics hated it, but Sarris saw what was good in it.
V
ALE: Which friend suggested you make it?
war,
older than 1-he died a few years ago. I already had a back
zine in '46 or '47) and I wrote the script. I've got a copy
somewhere-actually, I'm not sure I do.
92
Over the years you lose everyth ing; I don't keep very good
matic because it
was
films. Well, I bad a script but l can 'Ifind it, so I'm rewriting
and we went through the entire thing. It was a big tum-on for
The whole thing had been the idea of the ringmaster and
big bank here in NYC. I did a second film for him, a comedy
his wife. They were "swingers" and they got others involved.
called Pandora's Box which was not very good. I was cutting
The ringmaster's wife was the one who started the idea -she
was
lly .... of
tro. tile
.. ..
._.,
...... Of
.... always
from
..... of view. I stress the
..
based
on are
the '
efficacy of - for thentselves. In
...... . .... . the .... ....... .
...... . . .. . . . ....... hav. much MOn
......_....._ .._ _. l think sex is
....... to .. . lot of fun.
was
groping around. And the crux of the story ( and it was actually
true) was that one woman discovered that her 17-year-old
teenage daughter had been in the thing from the very
beginning- unbeknownst
to
her.
That
was
really the
lghting
i
Wives)
the whole thing. ''You joe Sarno?" 'Yeah ." It was the FBI!
was:
Moonlghting
i
Wives elucidates and explains how Of\e
but he was in Tangier.) They said, "Do you realize that Earl
about this.
It ended up that any money that I might have been entitled
have a drive; I'm going to explore it." Money only means one
who were gamblers were her first and most willing recruits.
and
After she had her business going, she had bankers who were
coming in and using her girls, so she'd find out who in the
would bail him out- and it almost did. The film was very
trouble.
their mortgage-who
was
having
urote ?
not the money but the adventure of the whole thing. Even
"usten, you think that's a story- I've got a story. "As a side
after it was clear that their debts were settled, they were not
light I wrote this little bit (which was part of a series) about
was
to give you the name of the town. These men and women
back to their kids and husband . . . The film had a lot to say; I
sex without knowing who their partners were. For light all
thing: there
bonuses.
was
know of).
master's suit with top hat, whip, the whole thing ( although
93
and did typing and so forth. The girlfriend was very sexual,
and it seemed like every time they went out they had sex' Not
for money either, just for . . . ! So the first woman said. "Wait a
oft he story as they knew it: "Oh no. that's not how it goes-it
while their husbands were away, they went out 'on call" as
minute-we're
stenographers.
Finally a policeman got really bugged that all this "filth"
us
ofview; the fairy tales that my films are based on are from the
ANA: Well. uomen like it too SARNO: Exactly-that's he point. And hat's what my
fi lms usually are about. The toymaker is a woman and at the
same time she also appeals to the women in the relaionship.
as
was
woman. etc.
dig
that
body
chemisty!
rial in the film. Then I wrote the script based on all that.
VALE: It's too bad you couldn 't ha11e gotten auay zl'ith
the real ending for Moonlighting Wives.
SARNO: I couldn't have at the time. The people who
financed the film knew where they wanted to play it-it was a
very big fiJm at the drive-ins which were a large market at that
time. The young British actress who played the lead really
was a dancer-she was working as a dancer in Las Vegas then.
Swed ish story. sort of a fairy tale; it wa..o;; in the puhlic domain. I
listened to people talk about it -everybody told the story
differently. It was about a young woman toymaker who could
entrance people. The Swedish woman who played the
toymaker-a
did a film after that. She became a missionary; she went with a
Swedish mercy mission to Biafra and worked there ( actually,
I don't think she truiy became a missionary'). The other
... or how to
alter your ego!
ahead of us
,
,
"..
..,...
,. , .. Joe Sarno
o
.
Enc Edwards
Cris Jordan
Sidney Ginsberg
Peter Kares
, ,. Joe Sarno
knowing that the men are more difficult to deal with. to bring
arrested in Russia!
them into her fantasy. That'!> what the whole film's about: the
l't<l.LE: Hou?
PEGGY:
joe
about it, but most people don't realize how much eyebrows
the girls had their breasts showing). The state police grabbed
\"\'aS
really enjoyed it. And you could really feel it-when that
happens on a film and you film it, it's there forever. Because
the people really liked each other and they wanted to work
for the film.
was
different layers . . .
cost umes all night. I never slept -it was the long Swedish
West Coast. Seymour Borde, who would just send joe money.
12
Because most people would take the money. eat out, take
SARNO: She
did
everyt hing-she
desig ned
the
girlfriends around the world, and with the rest of it make the
production.
film. But joe isn't that way-never was that \"\'a}'. and Seymour
are
done with
pathic staff?
95
june, '72, in ten days or less. Sven Grankvist was the on-set
ing, and that's why he's gotten such good performances out
of young amateurs.
Lasse Grankvist; and that was the crew. All the people really
nary find- a young ballet dancer; I think she was fifteen when
them in English.
we used her first. Such a sexual person you have never seen!
the editor and the director and the writer, he knows just
what he's going to do, what he's going to shoot and who he
needs. And if he has a good producer who gives him free rein
wanted to make their character so real, and the sex was part
with.
lf it's a young girl, usually she trusts him, and that's very
of it and came out of it. But once you start working with
96
are gone.
was.
stones. He's got his wife with him and an assistant (a young
was
was
the
first film she'd ever done, and she was fantastic). The story is
about this triangle. The wife is jealous of the young woman
affair, but the wife's jealousy pushes them into one . . . as well
point where she actually falls in love with the young woman
to COSLBIIIt
....,, have
... ldlntifies fo If. If was a
they --
bade
the kid rouches it' Same thing. The exteriors filmed in the
the Swiss Boarding School were the only two kids who wer
left alone. The other kids' parents would take them away on
vacation, but they were left there because their mothers had
0 VALE: Do )IOU do any improt lising during the making of
the films?
too many things going for themselves to care about the kids.
well and get carried away, joe will write more scenes.
starts with her reciting all the sexual things they used to do
people who don't go along with the flow, then . . . They must
pletely. even though I<Aren seerned to be the one who had the
upper hand.
Who
You know: "flying by the seat of your pants" -when the pilot
'
title is) with Harry Reems who was the doctor in probably
the most infamous of all hardcore
administered the "deep"!
fil ms
0 V
ALE: Also, yourfilms often portray people dscovering
i
Deep 7broat. He
don 't recognize their own truest feelings. That's why when
they see them on film they don't say, "jeez, I'd like to do that,"
is a vampire that has died (but being undead they don't really
die).
fmally in the end she has to be killed because now she is the
somebody else.
urlJs. I used to sit in the theater and then listen to people after
the film; I was curious as to what people thought. And I
would talk to them-! wouldn't let them know it was my film.
some would say, "This is the kind of thing that if I had the
guts, I would do it."
97
face of the establishment the law that was for the "haves" not
especially if you're a
she isn't dead!" And one of the bystanders said. "Don't worry.
happened . A
that they're no better than she is, and she succeeds to some
degree . . .
I'd love to get a copy of 7be Suritch. which was a comedy
.. ........
sex without violent endings, and I think that's one reason my
so
upset that the revolution had just frittered away that they
decided the thing that would help the Black uberation Army
or the Sandanistas most was money. So they robbed these
banks.
Now whenever there's a robbery. why are the people
always caught? Because they spend the money. But not Kathy
Boudin, Kathy Wilkerson and those people-they shipped
the money away. 7bey lived like cockroaches, believe me!
They slept on pallets in lofts, they took jobs as dishwashers.
and nobody could ever point to them. They had a way of
getting the money away- 1 won't go into exactly how, it's too
long-winded -but there was a Swedish national doctor, a
young woman, who helped them get the money away to the
third party, Cubans or whoever handled it.
To make a long story short, the young woman who led this
became so frustrated that there was no focus on the revolu
tion, that she decided there had to be some blood. And there
was. They killed 3 cops and now they're all under arrest.
That's the story, but nobody will do it because they feel it's
too close to the real story; the people are on trial, and the
trial's gonna last a hundred years.
VALE: You did lnten!l'ews for that project, too ?
Sodom
with very good people in it like Ray Serra and Kathy Chris
topher. It's a very funny film about a spinsterish chemistry
professor who makes a potion that she believes is going to
change her, like Dr. Jekyll & Mr. Hyde. She takes it and she
does change, but she changes sexually-when she's under
the influence of the potion she goes after sex, and she really
goes after it! Ray Serra who always plays Italian gangsters VALE: He
great in The Honeymoon Killers SARNO: In
was
Tbe
whose wife is al ways hounding him for sex, but he's too busy
watching "Duke" Wayne films. He talks with such a heavy
Brooklyn
accent
that
you can
New
York films?
PEGGY: I started compiling a filmography, but I never
finished it. He did so many films a year, low budget black
and-whites as well as color. I don't Like the comedies Like 1be
Switch as much as I like the "exploitation" films, because the
latter were like "Eugene O'Neill exploitation"-there were
all these psychological "things" that made the characters act
the way they did. In films Like Young Playthings you also had
the right chemistry, like between the toymaker Margareta
and Christina Lindberg-and that's luck. Because if there's
one person very uptight about sex, then . . .
AU those years, Joe wanted the real feeling and spirit. And
some of these sex people were used to just faking it-and
they overdo the faking. They would just give the "uh, uh"
sounds and think that
on
the sex id
VALE: Great
sixties ?
title- was
that during
the psychedelic
was married
.. ..,
York, it was an "in" place. The film featured The Four Kings,
Ronnie Dante who now produces for MlV; it was a fun thing.
We ust
j
did a documentary on the Nolan Sisters-they're
Irish, had number one hits in England and Japan but they're
unknown here. I do work for Video Shack- they're one ofthe
biggest video retail outfits in the world-and they had this
in-store promotion by Duran Duran for their new videocas
sette. That was a mistake! They figured they'd have a few
hundred kids, but 4000 kids showed up trying to get into the
store all at once-it was a riot! They had the riot police out; it
was on
television.
sidejennifer Welles
SARNO: In
1963
store owner
was
was really a collector for the mob. He used i t as
a front for gambling and so forth; he was the "banker." This
focused on any one spot in this business. I've done rock 'n'
99
know how many films. When someone hired Joe they knew
that he had the freedom to choose his crew, write his story,
uses her-he finds out that this is \vhere the money goes. and
he uses her to rob the store in the middle of the night. And
in the stOr)', you believed in the film, and it wasn't just a job or
just the money. That camaraderie and that feeling really does
Pow
of my filnls:
p11pla haft pow ower others Just by force
of w _. their ovwhelmil penonalities.
r. a ..... .....,. in the force of wiL
is
tt.. in -.y
V
ALE: 7bese
were
as
over?
functioned so ef
fident/y-
terrible film.
they shouldn"t be doing it, or that they should be. For exam
ple, Annie Spri nkle should be doing it, because she loves to
actually added in scenes and wrote new material for it. The
that's the whole secret of the thing. Without that, you have
nothing
pilot. Well.
ew
psycbolo!{y?
SARNO:
actress in
write a part for you and change the script according to what
hou people uill lit ! out their lives based on beliefin some
SARNO:
only the same actors, but the same crew. Bruce Parks always
shot the films, Bobby Balin was always the assistant camera
man, Jimmy Lynch was always the sound man, Kemper Pea
cock was the editor, and we all worked together for I don't
1 00
PARTIAL FILMOGRAPHY
Wall of Flesh
Passion in Hot Hollows
The Beach House
Lash of Lust
lnga
My Body Hungers
1968
Karla
Moonlighting Wives
The Lace Rope
1969
Indelicate Balance
Daddy Darling
lnga
Pandora's Box
II
Any Afternoon
Confessions of a
Deep Inside
Red Roses of Pauion
Bed of Violence
Butterflies
Abagail Leslie is Back in Town
1975 Misty
Laura's Toys
1977
Karleks On
1978
Fabod Janteix
because the art films later moved more and more into the
mainstream. Now you've got pictures like n1e Gods Must Be
Crazy that play for years in one theater. Today, if you've got a
picture like Das Boot, a company like Columbia picks it up
and the minute they put their label on a film, it suddenly
attains a new respectabiliry it doesn't have if an independent
handles it.
I became partners with a really fascinating fellow, Kroger
Babb, who had been involved with everything from the fam
ous "birth of a baby'' films to a spook show. Dr. 0Jasm 's
C
hasm of Spasms. Kroger just passed a\'.>ay a few years ago.
films?
DAVID FRlEDMAN: I was too young to work and too
Babb was a big imposing guy who used to drink like a fish
army I
His real name was Howard W. Babb. Back east there was a
one so all the other kids called him "Kroger" Babb. He k.inda
......
for ..
some ass
cmd
--
tits!
did all these people come from?" Well, they'd all come in to
a few distributors found out that the French weren't the only
kin. too.
tion and ( they've got 'em lined up all around the block) he
came in. Nobody was buying lngmar Bergman for his creativ
said, 'You guys got something great here. All you need i:. one
thing." They asked. "What's that?" He said, "Me. " They asked.
"Why do we need you?" He said, "Because I'll show you how
but . . .
to sell it."
So the three of them started a partnership going from tO\Vll
disease reel and selling the books- Babb always figured one
thing: no matter what the subject was, have money coming in
a
book on
sex.
the first show and came back and the theater manager was
just here and she was just infuriated. She thinks it's the worst
thing she's ever seen and she's going to have us closed
1 02
A DAVID F. FRIEDMAN
WILLIAM ALLEN
CASTLEMAN
PRODUCTION
Starring
KIPP W H I TMAN
DENNIS BURKLEY
CON N I E STRICKLAN D
DAVID AN KRUM
DAVID BUCHANAN
Distributed
down. " And Kroger said, "Who the heU is Marilyn Horn?"
"Oh, Mr. Babb, for god's sake she's the reviewer for the
Indianapolis newspaper. You don't understand, Mr. Babb.
her uncle is the Catholic bishop of Indianapolis; her father is
the Chief of Police; her brother is the captain of the Vice
Squad; and her aunt is the Mother Superior of the nunnery
here. She's a very devout Catholic girl; she's the reviewer for
"Before your show came into town I opposed it, and I did not want
to give you a license to play the picture. But the common council
outvoted me. But, I
too
probably saved the life of one ofour fine young high school students,
a young girl who found she was in trouble.
"She did not know where to tum; she could not tell her tt'llchers
and she didn't dare teU her parents. Her friends suggested she go sec
your movie, which she did. From that came the courage to tell her
parents. The parenrs understood. The girl had the baby which has
been placed for adoption, and I want to thank you . . .
"P.S. l11e girl was my daughter."
town with him! And sht: lived with him for 30 years until he
finally did marry her. And she's now his widow. Talk about a
salesman! This guy could charm the birds out of the trees.
They aJI got to Oeveland about the beginning of the War.
"birth of a baby" picrure and he's got the title: Mom and Dad.
And Marilyn has written it; she's even named the lecturer:
"D-at's him! Dat's him ovah 'deh1" I said. "You better redo the
soundtrack." So we dubbnl English into English; I got some
radio voices from Atlanta and we laid down a track where the
people at least were speaking \Vithout any trace of an Okic
accent. Babb stayed up about 5 nights drinking martinis and
came up with this beautiful campaign of Christ on the:- Cross:
"Kroger Babh pre:-se:-nts TI1e Pri nce of Peace: and school was
out on that one!
1l1en he had one on alcoholism. One ff)() Afany. starring
Ruth Warrick. One HJO Many is a lost picture. It v.as about
the
e\ils of alcohol
real
preache:-r movie -it wasn't that great and the book didn't sell
well. In the middle of that Bahb got involvt>d with a picture
called The Secrets '{ Beau)'. where for S 1 0 he was selling
women a make-up kit and a hook on how to he heautih1l.
Secrets
rif Beauty
one of the
over where all you had to do was play two or three and you
would have been in the first generat ion- they're all forgot
The only thing Babb did after that- after Babb had shot his
ten; those are the guys who came right after Edison. The
wad with
se:-cond generation
V.'aS
Karimoja,
an
early
finally, that too came to an end. But I'd see Babb quite a bit;
we remained very good friends until he passed away
..
kids today who are grinding out porno- that's the fourth and
JM:
DF:
One was called The Prime Time and the other was called
How this came about was: there were four "birth of a baby"
Living Venus.
had a burlesque house, said to me, "I could sure use some
of E1te. A fellow
Street Corner. A char
acter named TaJley down in Texas owned one called Bob and
Sally that was made by Universal; that was really the best.
These guys used to fight each other tooth and naiL One day
I was sitting playing cards with joseph and
are crazy. The four of you should get together." SoJoseph and
released in 1959, the same year that Russ ( Meyer) made The
I brought the other three into Chicago and it was agreed that
Immoral Mr.
That's how I got lucky and drifted in, like everybody else.
and Sally,
Teas.
this year,
year Bob
of Eden.
New York State's Supreme Court told the censor board that
that many dates out here; there were beautiful dri\e-ins all
nudity was an accepted form of life and was not obscene, and
1 05
HIT NO. 1
2 V I B R A N T LY V I S U A L
VERSIONS
ONE FOR SPECIALTY HOUSES
ONE FOR GENERAL RELEASE
*
A Positive Plethora of Pulchritude!
Prized
and
Prismatically
Presented
For
*
IF YOU CAN STAND TO HEAR. THE CANNON GO
OFF, SMELL THE SMOKE AND SEE THE FLAMES,
THEN THIS IS THE SHOW FOR. YOUII/
1933
called
S26,000.
forerunner
of
Little Foys."
Massacre-all the slice 'em and dice 'em, smash 'em and
mash 'em films that ever came down the pike. Herschell and I
followed that with 2000 Maniacs. During the last one we did,
Color Me Blood Red, Herschell and I got into an argument
and I finished it. Then he went his own way and I went mine.
ground those things out like sausages! Then we made one for
DF: Herschell and I have had many ups and downs. Her
schell is probably the single smartest individual I ever knew
in my life . First of all, he has a Ph.D in English Literature ; he
was a professor of English. He could write faster, quicker and
better than anyone I've ever known. If he sees somebody
doing something, \'\1lether it's maldng an automobile or per
forming brain surgery, he can do it; he's unbelievable. On
Lucky Pien-e he was doing the camera and I was doing sound;
Leroy Griffith called Bell, Bare and Beautiful starring Virgi
nia Bell. Virginia was married tO Eli jackson who was a
there was just one kid to help us pick up. That was the whole
crew; we did everything together. We did the campaigns
was
1 06
JM: You knew Bob Cresse and Lee Frost. uho made many
sexploitation films together OF: Well, Cresse was a weird, weird kid. I first met him
when his father was on a carnival with me in Allentown,
Pennsylvania one week, and his father brought the little
monster out to visit the show . . .
JM: I no ticed that Frost filmed Love Camp Seven.
OF: Frost was the director; Cresse was the producer.
Cresse was very domineering. That whole thing was Cresse's
idea; Cresse really wants to be a Nazi more than anything else
in the world, that's his whole thing. He really believed he was
...
....
....
Mabe isn't that talented. Normally the less talented you are,
the bip,ger ego problem you have! Take the most talented
JM: I heard that Cresse got shot in the stomach OF: Yeah, he got shot. I was in Australia at the time. Cresse
always liked to carry a gun. One night he was in a bookstore at
Hollywood and Western. He looks up and there's 3 guys
beating the hell out of this broad. They got her down on the
ground and they're kicking her. Cresse runs over and goes to
his car and takes his gun out and holds the gun up, saying,
"Stop! I'm calling the police! Stop or I'll shoot !" And this guy
whirls on him and says, "We are the police, motherfucker!"
and shot him twice right in the stomach. And then the guy
shot his dog He almost died . . . and he never really recovered
from that, mentally. IAPD-they're "Dirty Harry's" down
here!
After working with Herschell, I came out here and started
grinding crotch-hoppers. I resisted explicit sex almost to the
end; I didn't get into that until '73 or '74. I had a lot of fun with
the soft things: Trader Hornee, Zonv . . .
JM: I' d really love to see The Defilers, but there's no
theater u1here you can see films like that.
OF; They have no value today; the video people don't even
want them. 1be Defilers was not a bad little picture; I made
that in '64 with Lee Frost, who had been working with Bob
Cresse most ofthe time. One I made after that, that I like even
better, was called A Smell of Honey, A Swallow ofBrine! I
wrote the story for Stacey Walker, whom I met when we
were shooting Fanny Hill. I t was a pretty fair little film. Those
pictures were kinda like the Roger Connan films oftheir day.
JM: Maybe the Playboy channel will show them.
OF: What Playboy's doing is almost unbelievable; they're
buying X-rated films and then cutting all the sex out of them
and just playing the story part, which in a lot of these pictures
you can get rid of in I S minutes! [ laughs]
1 07
Fe
Frost. They made The Defilers, a dark and moody B&W film
about it. After World War II, he worked as a press agent for
BOINN-G!,
But the films Lewis and Friedman are best remembered for
are the world's first gore films: Blood Feast, Two Thou
sand Maniacs! and Color Me
Blood Red.
heterosexual scene,
an
in
evils.
1 08
PARTIAL FILMOGRAPHY
Starlet, 1969
BOINNG!, 1962
Bell, Bare and Beautiful, 1963
Blood Feast, 1963
Goldilocks and the ThrH Bares, 1963
Starlet, 1969
Thor She Blows, 1969
Trader HornH, 1970
rib
The Entlc
AS anoR:
1 09
W:
you finish the film. Then ofcourse you have the edge because
ran
DW: As I said, my life really isn't that interesting A]: 1be fact thatyou 've been making these films is inter
esting enough. When did you start?
DW: About 20 years ago. My first films were nudist camp
me
A]:
wish I could.
DW:
AI
Double Agent 73 . .
.
DW:
1 10
AJ: Hou did that film help ber? just hy gitting her
exposure?
DW: Sure! That film made money. And actually. if not for
the comedy, I'd be all right now.
..d
Girts Go To Hell
A]: By the uay. did you et1er use any pseudonyms? Did
you urrite screenplays under the name Dau 'll Whitman?
DW: What picture was that7 I can't remember.
A}: The Amazing Transplant. Did you urite that
screenplay?
OW: Yes, that was mine.
DW: Yes, I do the same with each film: I write. direct, and
so
on. But I used another name because it looks bad; it's not
wise.
because I'll have the women down on me! I think men are
equalizes.
AJ: I don't know. But The Amazing Transplant DW: That was sold to video. Do you have any other films
listed there?
so
111
went to
,...,
ill
&nW
had
to
we ...'t .... .. of
CC1U1W fht
...... ....
around the title, which I've done many times. It's ridiculous,
of course, but that's how I work.
A]: Can you name a title?
OW: A Night to Dismember: I got the title first. TbeAmaz
ing Transplant . . . well, most of my films.
A]: Do you think people could tell ifa woman had done
your films?
DW: Oh no. They know whether they like it or don't, or
whether they think it's good or bad, but how can they tell?
A]: How is softcore sexploitation currently marketable,
now that there's a whole market for hardcore?
OW: I don't think there is any market for softcore, frankly,
and I don't know what I'll make after this. I haven't the
vaguest idea. I'm not thinking about the future; I just want to
get finished with this film. But I really don't think there's a
market for this sort of film anymore.
A]: Would you do bardcore ?
OW: No. Not that I disapprove, but I don't think I'd be
capable. Well, I could. At first I thought it was horrible, but
it's not. Ifyou don't want to go see the movie, don't -they're
not twisting your arm. Ifyou want to see a hardcore film, fine.
But I couldn't make those films.
A]: So if this is successful, you'// stick uritb horror?
DW: I don't know. I haven't the vaguest idea at tllis point.
Normally I'd be thinking of about ten other films, but this is
one time where I'm not going to until I'm finished and know
which way to go. Because the market changes constantly, and
truly I don't know what's going to happen. Speaking ofhorror
films, there are millions of them out, and I don't know how
long they'll last.
A]: Do you still take a hand in the distribution?
OW: Not ifl can help it. I do because I have to sometimes,
but I don't Hke to. I don't like distribution.
AI That's where you started, though.
DW: And that's where the money is, too. The distributors
generally don't invest anything, so they have nothing to lose.
Let's assume your picture cost S500,000. By the time you've
gotten your money back, ifyou've gotten it, they might have
made 11 50,000. Whereas you might not have gotten your
money back. So actually, the money is in distribution. But I
don't Like it. This is more of a challenge, more exciting.
A]: Do you have any interests besides films?
OW: Well, I'm writing a novel, and right now that's my
hobby. Every time I have a spare minute, I write. It's a
112
A}: Your films are good. and tastes are cbcmging DW: [softly] Well, I don't know how good they arc. but A]: Tbey are, because they reflect a creatit'i)' that 's spon.
taneous and nait>e and uniquely affecting-qualities you
usually can't find in the midst of a 520 million budget. I
think people are really cradng that nou.
DW: You really think so?
A]: There's a small but growing community of people
around the world U'ho realize that almost all big budget
films like Star Wars are sterile. It's obt4ous that a corpora
lion made this film, and DW: Doesn't have that personal touch.
A}: You 're also inte1Y?Sting in anotberdimension-it took
a lot of courage to do this on your oun.
DW: It's not easy, but I guess most things that are wonh
while aren't that easy
A..,.t 73. Chesty Morgan is best known for her upper torso
appointments: a ful 73 inches of mammary excess. In
DetNiy Weapons (a title whose meaning the attentiwe
reader may well discern), Chesty turns in an exquisitely bad
performance-so crippled that in her next film, Deville
Agent 73, her voice is dubbed.
Supremely tacky, Doullle A..... 73 makes Pink ,......
goes look almost genteel. And the film does not merely
strain credulity-it tears it asunder. Chesty plays an agent
assigned to ferret out and eradicate members of a elope
smuggling ring. To learn the identities of her victims aftw
dispatching them-no need, apparently, to know ...,_.
hand whom she's kiHing-Chesty snaps their photos. The
camera is implanted-really quite routine, medically-in
her left breast. Naturally, every time she wants a photo she
must first remove her clothes. Moreover, agent Chesty is
working under a lethal deadline-she must complete her
assignment by a certain time or the camera will exploclel
Ms. Wishman, n
i addition to directing films, also wrote
several movies under the pseudonym "Dawn Whitman." Hw
best effort is The Amazing Transplant, the story of a
sexually frustrated young man named Arthur who wishes he
could be more like his satyric friend. Felix. When felix dies,
Arthur-hoping for a virility boost-forces a doctor to
transplant his friend's penis onto him. The operation is a
"success." Arthur turns into a sex fiend, traveling around
the city raping women. When his girlfriend Mary calls him
"sick," Arthur strangles her and goes on the lam; finally he's
tracked down by his uncle, a New York police detective who
assures him that his problems are psychasomatic. Arthur
reluctantly agrees to turn himself over to the authorities,
and the movie ends in Lady Or The Tiger fashion-the
outcome is left to the vieww.
Doris Wishman's style is all her own. Only Jean-l.uc Godard
can match her indifference to composition and framing; if
two people are talking and one is partially obscured by a
post, so be it-the camera will nat change its angle. Some
times we are treated to static shots of feet-or torsos, or
hands-while voices talk off-screen. At other times Ms.
Wishman will trade off shots in such a way that we never see
the person who's talking-instead we watch the listenw, his
head nodding thoughtfully to words from a speaker we
can't see. Often her camera imitates a human eye roving
restlessly around the room, occasionally allowing insignifi
cant obiecfs to hold its attention. for example, the camwa
might follow a persan to a dresser, then stop to dwell on the
various items (obiecfs completely irrelevant to the plot) it
finds there.
Unlike the performances in the films of Henchell Gordon
Lewis and Russ Meyer, the acting in Doris Wishman's films is
usually underplayed; half-balled, even. This, coupled with
hw singular camwa technique, gives Wishman's worll an
unmistakable look and feel Some filmmakers work on the
periphery of accepted styles, but Wishman is w beyand the
fringe. No hints here of Hawks, Welles, or Eisensteln-in
fact, no hints of an seen before; and because of this,
critics and viewers hove hastily-and unfortunately
shunted aside the work of this uniquely inspired filmrnakw.
The sexual freedom of the '70s-unkind to many other
sexploitation directors as wei-hurt Ms. Wishrnan's car...;
as hordcore films took over the market for softcore dried
up. In 1983 she began work on a slashw film entitled A
Night To Dlsmem... While nat reiecfing the possibility of
making more movies, Wishrnan is pessimistic about her filmic
future. We wish her luck.
W:
thefirst time,
sake.
I like
knew
can
or sci-fl. I just
and forth, but you don't see people. And you don't see the
have been afraid of. And the picture didn't tum out to be
brick, glass, an old building next to a brand new one ... Here
was bad, everybody was a little bit crooked. He was just one
that.
VALE: Your films are multi-layered, yet accessible-the
audience can get simple messages right away, but other,
more complex implications are there.
AJ: Do people get mad at you becallSe they can't put a
simple label on your films?
LC: They don't get mad at you, they just ignore you-if
they can't get a "fix" on you they ignore you. But cable video
Kennedys
off as kind
too
of
unscrupulous.
Hoover didn't come off any worse then anybody else in the
picture, which was the truth of the matter. Those who liked
Hoover were fairly satisfied with the film. I had more trouble
with people like Arthur Schlesinger who felt that we slan
dered Franklin D. Roosevelt. He wrote in the
Saturday
Review some nice things about the picture, but withheld his
approval because of the shabby way we treated President
Roosevelt.
A}:
food
industry, mass market advertising and the cynical way it's all
handled by the U.S.Government Food and Drug Administra
tion. In the end of the picture, they uncover that "the stuff'' is
a poisonous food that takes over people's minds and kills
them, so they finally get it off the market, destroy the factory
and blow up the franchises. But then the people who are
merchandising it just re-emerge under another name. They
dilute it, saying their new product contains only 121h% of the
stuff-the rest is "natural dairy products" -and put it out
under a new name with a new advertising campaign.
That's what they always do, right? like with saccharin
now it's Nutrasweet. lf you examine the label you'll probably
find the product has just as much saccharin as before, but
they just put in a little drop ofNutrasweet so they can feature
that on the label. giving the impression there's no more
saccharin in it. But all they did was add the Nutrasweet
without taking out the saccharin.Now you really don't know
what you're getting!
They'll sell you anything. Ford Motor Company'll sell you a
car that goes out of control and runs you over. They know
about the defect, but it's easier for them not to do anything
about it and pay off the lawsuits than to recall all the cars.
Even though a few people get killed-so what? When they
find it's a defective part that makes the cars go out of control
and kill a few old ladies, they say, "Oh ue/1. if you bring the car
larry Cohen with his two monster babies from 11"1 AHve Part I & II and
newly hatched killer Mayan bird-god from
Q.
A J:
just dropped it: "Keep on drinkin' it, folks!" So, my movies are
I've driven my
car
But try and get that passed. It would be "bad" for American
industry; we'd have to start loaning money to Chrysler to
keep them from going out of business ... (laughs] There is
Co. here, who put out "natural, pure, clean bottled water,"
115
on
HMYer.
enough, and you've had enough tragedy in your Life, for some
sales and things like that. All these pictures bring in money
out and pray to a big tree, or the clouds which are beautiful,
was
I guess I got the idea for God 1bld Me 7b from going to the
ist ... who has the ego to tell us that they know God's will,
and can tell us what God thinks and what God likes and what
God is, and how God feels about integration, South Africa,
in his back, this guy's got his head over here and his hand
there, and here are all these women being raped and ravaged.
it: a big canvas with bodies strewn from one end to the other;
anything.
People say, "Reverend Moon-what a crook!" and I say,
here are babies with spears through them. And it's a religious
painting."
"But what about the Pope?" It's all the same; anybody who
tough guy," I said. "Boy, if he ever came back, look out! Talk
about GodziJia-what if God ever walked in here and took a
look around? He's one tough cookie. This man is strict."
that so-and-so's going to heaven but not this guy. I'd hate to
get there and find a line of people with reservations; they give
you a number Like in a bakery and you're standing there, then
they call your number and some guy comes over and says,
messiah came back, bringing with him the kind of ethic that
really is the basis of our relig.ion, which is: kill and destroy
anybody who doesn't do EX4 CTIY what you tell him to do.
Why should the Angel of Death fly over and strike down every
get in, like some kind of a club. I think it's really sad when I
nice guy.
116
LC: That's what you tltink; we don't know who wrote it!
than jesus will appear! "Make your bets now on who's com
ing first-ET or jesus!"
actual)' lxtppened
V.
V. And pt1inted illusions LC: -With heU and damnation, where you could see aU
V:
fear emotions.
LC: Sure. Now you'\e got different people doing it, like
that guy in Oregon-Rajneesh. On a recent news program
you could sec these people going crazy when he arrived,
chanting. screaming. hollering. having virtual orgasms of
delight. Now, because of AIDS. when theyhavesex theyhave
to wear plastic gloves. and they?rc not allo-ed to kiss. and
they have to w<.-ar prophy1actics during intercourse. He's got
LC: WeiJ, I'd gotten all these slides from differ ent muse
urns, but wt: didn't ha"e the rights to reproduce these paint
t
ings, and I was afraid, afer
we shot it, that we'd be involved
with all kinds of litigation with museums across the country.
public domain?
LC: I don't know. I think you could argue you have the
right tO usc a painting like the Mona Lisa that's been around
A}: Were you tblnking about tbfs whenyou did It's Alive!?
LC: To some degree. I didn't think
117
to
get in-to see what be looks like when they take it off, right?
any older. Werewolves and van1pires never age; they stay the
same age forever.) The kid's a teenager in high school who
becomes a werewolf; then he goes away-he doesn't want to
bite anyone in his hometown. Twenty years later he comes
but they get a little glimpse.But on the same token, both It's
Alive! and 1be Elephant Man are trying to tell a compassion
are
It's funny how things even out as time goes by. Tilese
movies become a part of the culture or the subculture and
they're there. but everything else changes. The hairstyles
change, the compulsions change, the political things change.
The people stop marching in the streets, and they get jobs,
and get on the pension plan, and they get conservative ...
people go through the big drug thing ... then they get off the
drug thing, and then join the gym and the healthclub and they
jog and eat wheat germ and take colonic enemas-these are
the same people that were wasting their bodies years before.
The world changes but the movie srays the same: it's just
there. It's made in one culture and emerges ten years later in
another. And sometimes it's understood better by people
who are no longer in the culture mat the picture was about.
Ten years later they've changed into different people; they
sec the picture on cable and say, "Hey, this is very good! Why
didn't we like this when we first saw it?"
You can see how the world is changing constantly. I know
all these people who once were wild, crazy kids, and you
meet them now and tht'}re older than I am. What happened
to them? [laughs] How'd theygetso old? And now, you've got
kids running around with the spiked hair-orange, pink, and
blue. It's great, but wait and see these same people ten years
from now-you won't recognize them. They',e got to get i t
all out o f their system now.
All that rebellion they'll get out of their system by dying
their hair green or red or purple, without ever dealing with
anything mentally. So that when mey're all through with it,
the)' can become the same boring people that their parents
are.Meanwhile we go on making the movies. It's like painting
on the walls of the cave-years later another sodety discov
ers those paintings and says, "That's what things were like in
those days." Those movies really have something to do with
the time in which mey're made.
Full Moon High (points to poster I was made about seven
or eight years ago. Two weeks ago a picture came out called
Teetl Wolf which is basically the same film but not nearly as
funny.Full Moon High was really about something-about a
118
It's Alive!
ahle to function
Churchill
.:00 he took a nap. and Kennedy did the same. And it wasn't
just lying down on the couch, he put his pajamas on and got
into bed for onc:: hour.\X'hat he didn 't tell everybody was: the
had thc: media on his side-they'd finally found the first real
he
V: He fooled a lo t
off.X'O{Jie.
was
was dnmk-e\'t'IJ'
so
"WaS
because
passed out. and they had to put him to hed. And the reason
made for
and so casual, and could answer any question, and charm and
the famous statemt'nt. then twe nty years later you get th<.
wa..'i
make jokes. and act sexy to the women. He: loved his kids. and
arc:-
going on
.. ..... wriththt"'
No, you'vegotki*nn
AI that r.ta.lli6n'they'(18f out
spiked hair
of their system by dying their hair ...., or
red or purple,..JWithottt _.., ..... With.
c.ything menially. So 1hat when fheVre
through with it, they can become the same
boring people that their pts .....
"'"as
we
sleep. \X'e had been "ith him till about 12 midnjght. and then
lovc:d to walk on the bc:ach; always had a kid or a little boy
undtr his desk (making all the decisions: people didn't rc::al
was
:00
PM there
kyers of smmd.
editing
-rudios will then "loop" the scene. But NewYork street noise
is like the New York "look
"-
feel that reality is the best thing you can give people i n a
movie.
permit, and all these groups came and brought their bands.
where we shot all the stuff v.ith the guns real)' going offand
the blood squibs. We matched that footage into the footage
shot in New York so it looked like it was aU-in-one. But we
netJercould have had all that carnage and chaos in the middle
of the real St. Patrick's Day parade in New York City!
LC: Well. we actually shot part ofit at the real St. Patrick's
Day Parade in New York.
LC: Yeah; that scene was one of the first things we shot. I
thought,
"
'
But it's not in the script, so I don t bat->e to deliver the scene. If
extras, and it looks very rich and opulent because you have all
'Hey, you didn't get that big parade, so we don't want to give
you the money for the picture because you didn't give us the
picture you promised."' I thought. "But if I can bring this 6ff.
'
"
never go doU'TI.'
the price of film. Then the silver market collapsed, but they
Andy Kaufman in the parade (who played the guy with the
didn't lower the price of filin; they kept it high and that was
gun). It was the first thing he ever did in a film. by the way.
that.
into the formation and the cops who were there played
it, anyway.
have any more real money to make your picture with than
matter what.
do"'l1, running around, pulling guns and stuff like that! But
had all the money in the world. If we had staged the St.
'
120
have been as good, because it never could have been the real
than that.
If you set out to do something like that, you have to enter
her out. Then she called me in and said, "You're not going to
4 2nd
finish your picture here but you can't shoot any more chase
when they get there that's the end ofthe parade. Ifyou don't
scenes or scenes that will disrupt the streets. And no guns are
got the key scene with the people in baskets hanging from
the Chrysler Building.
then we'd have to run our asses off and get up ahead of them
in enough time to set up the shots, set up the camera, get the
readings and focus and be ready when they came by again.
And you'd be carrying aU that equipment -batteries, extra
loads of film, running Like crazy. It was like covering a real
news event.
LC:
A]:
as
a location
up in their own
for Q?
LC:
for the day, and send them to Western Costuming ( and that's
S7S
another
up those ladders into that skinny Little needle at the top of the
over SIOO just on wardrobe. But ifyou hire a regular cop, they
the same cops who are members of the Screen Actors Guild.
They work in movies on their days off-they make a lot of
marmer.
those baskets and hang off the side of the Chrysler Building.
headquarters.
V: In
if you go to any
city they cooperate with you because it's good for the econ
omy of the city. UsuaUy they'U give you police cars and
policemen for very little dough.
When we made the second
It's Alive!
picture in Thcson,
A]: What's your situation now with New York ? Can you
go back there and shoot?
LC:
changed. The lady who was there is not there anymore. I told
total Lie. I had a camera crew down on the street to try and
The guys who once gave you a hard time being hard-nosed
cops- a year or two later they've retired from the force and
panic, but no one ran away! That's why I had to use footage
running because they all just stood there and looked, that's
changes. And you meet the same people over and over again
in different contexts.
.._.
1 22
The
him, "Here's what you do: you come in and sit at the bar.
guy's going to say to you, 'What's new? Did you find that guy's
says, "What's
this about? What does this mean?" I said, "Well, it's too long a
there at 8:00
story to explain, but you're looking for a guy's head that was
they've got to do their hair and make-up. They get there and
Later on (after the picture was finished ), he told me, "I had
never worked in a situation where I didn't know what I was
AM
what the story was, I had never read the script, I had just
made good money, bought a house, and now they can't afford
As soon as I did the scene I was so upset I went out into the
street and threw up!" I said, "Well, you never would have
tion. Once in a while they get a part that has some life to it, or
enough friend to come all the way over and do that for me on
faith. Of course, that night he got to read the script and it was
other than give you the routine performance they can give
you in their sleep.
Most actors can give you their routine performance in
guy to
guy
to play the part the same way, you've got to make up some
thing so that he'll play it differen tly.
before. Like in
some fun with. You try and loosen him up and let him do
things that are a bit more fresh.
stuff, and who acts with his whole body, then you see that and
think, "Gee, I can do that, too. I can use my whole body, I can
up
as an actor.
they already know from previous days that they're not going
to do just the things they studied last night. They're not going
type of show. where they have a script, they go to the set, they
Most directors are just traffic cops: "You stand here . you
stand there . . . on to the next scene!" The difference is: ifyou
know the lines, they stand here, then they go there, and . . .
. .
Actors can't help it; they'll give you the easiest performance
they can give you. You want to make things more difficult so
picture.
123
to them, we made the deal right away and I went off and made
win ,
doesn't
black girl, things don't work out with the beautiful white
line."
live like they do-in short, he tries to be a white man and fails.
He tries to take his mother who's a maid and turn her into a
said, "I think you're going to be a star. I tell you what: I'll give
count.
And it was true! But usually it doesn't work out to use people
who are friends or just off the street. I prefer actors who have
If you work with people over the years, they become kind
of like Assistant Producers. Again, it's because they want to
hang around even when they're not working. As long as
they're there, you may as well give them something to do that
makes them part of the production. So I ask them to help me
out with this, that, and the other thing.
Usually I send the actors off to buy their own wardrobe:
"You know what this character would wear; go out and buy a
suit he would wear, and here's some money." They go out,
and now they're not just acting, they're involved. Instead of
handing them something, saying, "Here-wear this!" and
r. "...
r/lft ,,..
. .,..
... ..
....
......
.. .. . .......
,.
-... .. ... .... _
. ..,...,. .. ....
... _
.
..._.
..
..
......
......
....
,
_
.
..
...,
The film's
more
....
.. like Public Enemy or Little Caesar, where
..,the guy rise and fall. The flaw in his dream is that
you
... see
.
...
doing it. You use any device you can to bring people into the
they're outsiders.
God Told
Me To -
Those were aU actors. You tell 'em you want black actors,
they send you black actors. Believe me, the door opens and
they parade in-there's a lot of 'em out there. The guy who
was the ringleader was a model, but he looked right for the
boy and works his way up to the top, and in the end the
"Before you die I want you to do one last thing for me. I want
amazing.
knees and do it. But then Black Caesar getsthe gun away from
him and, taking the black shoe polish, tells him, "Before I ldll
you I'm gonna make you a nigger first." Then he blackens him
some pictures with black casts, and you know how to direct
those black actors." ( One black actor in the whole film and
"you know how to direct those black actors" ! )
singer back in the forties -he was a band singer who had a
out of their system while enjoying the film at the same time. I
underworld was pretty active in New York. The idea was the
V: 42nd Street?
LC: No, no, it played the Cinerama on Broadway. The film
started at 9:00 in the morning and ran all night long-it was a
big hit. People would say to me, "How can you go in there;
124
Black Caesar.
you're the only white people in the whole theater!" I'd say, "It
made the film, but that's what happens when greed gets in
doesn't matter; the audience has such a good time that when
the way!
V: Your greed ?
LC: Yes, mine. If I didn't want to do it, I didn't have to. But
always done with movies: get out all their suppressed anger,
the girl in the alley behind the stage door of the Majestic
1be bad
nobody left wanting to kill or hurt people, and still at the end
black guy is trying to get away, and the hero, Black Caesar,
play the white man's game, and he lost. He should have been
airport to TWA and gets the next plane to LA. The bad guy's
true to himself
Caesar picture. The first was such a hit that the producers
When the planes land, the chase starts all over again in the
LA Airport. The bad guy gets off his plane and is waiting for
his luggage while Black Caesar runs across the airport and
for a year to make another picture; we can only get him ifwe
fun.
looked it.
A]:
action scenes I've ever done. There are good chase scenes,
somebody's nose off. The more they're capable of, the more
125
they do; then you get really unpleasant horror where people
A]- I read that you and the main actor in I , The Jury
complained to Warner Bros LC: We complained to Twentieth Century-Fox ( who dis
got a few licks in, too. Nobody minds when Indiana jones
and made it too gruesome. And that scene where the guy gets
fried on a hibachi grill- it's no good if you just throw a guy
down and bum hi m, unless there's been a big fight first and he's
shoots down the guy with the sword- it's fun because there's
stiU tough; he's stiU trying to find people to let him make
his house in the late fifties, but he'd sold it long before I moved
fun out of it. So ifyou can't do the whole scene, doing only the
Fuller" on them. Then John Ireland, the actor, was here one
u
das charactersticks
overt. Like in God Told Me To when thej
his head in an elevator shaft LC: We didn't show his head coming off. Some people
day and he said, "l was here before; this used to be Sam Fuller's
and his wife came up a couple times and spent the evening.
Recently I was in Paris and found out where he was, called him
night with them. He's a wonderful guy-a great man to talk to;
( the scene where the sheet of glass cut off the guy's head),
But, you know, the genre I'm working in is the most popular
more realistic.
We had a little gore in Q when the guy cut the other guy's
chest open, but I didn't have him stick his hand in and pull the
and all I
And if they don't see 'em in the theater, then they see 'em on
lot ofbig budget pictures." So, then your picture's being seen,
bed-
Cable
is
"The
Great
Equalizer,"
and
so
is
the
what?!
like to watch old Warner Bros or Fox movies with the big
J'lf: The same with Invasion ofThe Body Snatchers LC: The first one was so good. The second one wasn't bad,
better. It's easier to believe these aliens could take over a smaU
Northern California town
Francisco!
I don't like to read books that are 800 or 900 pages long and
where the characters have long names. And I don't like to read
books that have a chronology of characters with arrows
1 26
A5 far as movies go, I like them aU. When I grew up, the big
better picture than this one, so I'll go to sleep." I can let myself
onJy had one theater that would run fo reign movies, and they
ran
The same thing with stage plays: if the play is no good, I faJJ
asleep. But then I'Ll feel guilty because it cost so much money
to get in- thirty or forty dollars a ticket! Sometimes I prefer to
buy standing room, because then ifI fall asleep, I'm standing in
These are all Spielberg-clone movies- they take a form ula that
works for him and they try to do it. That doesn't interest me.
company has any power over re-cutting the picture. Ifthey see
shouldn't die."
to improvise that scene with the prayer in it. But when I first
wrote the story, I had no idea this guy would turn out to be
material is. I knew we'd get laughs, but I didn't know Moriarty
So you have to take the good with the bad. But they left a few
sloppy holes in the picture that would have been worth the
extra ten minutes. In the long run it would have been a better
book was this year, then I'll be able to tell you. When I'm
scenes out and I could taJk them out of it. Or, I've had
that cut; I think you're right ." Or, "That scene would work
Smiley's People was over, I didn't have any idea what the plot
faJI
127
tax forms, and send in this and that. and then people file for
big hit, but if they had just followed the cards they would
have to do it yourself.
forgotten . . . then you get some more bills. The whole pic
place.
to
A.tter everyhody goes away, you get hills that people han:
ture's closed do\VTI, but then the letters for workman's com
pensation arrive. Finally that goes away. Then finally no more
bills, no more employees, no more hassle, no more mail and
it's so peaceful right now-nobody to be responsible for but
yourself.
As soon as you start another picture, you've got to do the
out are not even really noticeable, but there was one very
as
dream but I know it was more satisfying than the picture that
was playing there.
mmie. Then nerybody gets up and goes home and tells each
out
Ol!(!t'
most directors ?
LC: Sure. They leave me alone when I'm making the pic
ture, and they leave me alone when I'm cutting it. On low
their time. They figure, "Oh well, we're going to make our
picture. What did you dream?'' "I dreamed this low budget
S30
million picture. a
S40
million
What did you dream?" "I dreamed this great big galactic
don't get the advertising, you don't get the box office. So it
was wonderful.
A}: But don 't you prefer low budgets ? In one article you
LC: Yeah! Sometimes I just wtite and don't know what I'm
LC: Believe me, if you had the money you could spend it!
I'd like to have had more special effects in Q-to have had
talk, start to take over, start to play their part. Sometimes you
good, but they could have been better. I had many more
way, so you let them go, let them keep talking and see where
when the scripts go in, they'll decide which one we're going
into their ou'Tl hands. The characters start to take over and
speak in their O\VTI sryle and rhythms; each character starts to
have his O\VTI w-.1y of talking.
Uke with painting, there an:: two ways ofworking: you can
make a pencil or charcoal outline that you can see, then fill i t
i n with paint. Or, you can go in with paint and a blank canvas
on earth is born with Original Sin. Only one person was ever
and start making this shadow and that shading, and rubbing
this and that. And you think. ''This looks like a terrible mess."
mother
and see something you didn't see before: people and back
Conception.
ground and trees and- where's it all coming from? It's com
ing out of that brush.
of jesus.
So
Mary s birth
is
the
was
Immaculate
And then other people buy a kit that says "green there, red
here. blue over there" and it looks like a horse when you get
finished ! And you go. "Shit. that does look like a horse,
doesn't it?"
made-
story'
You ha,e to have your own faith, your own belief. just
good trees; and then you bring in Sam who does beautiful
this guy does the best clouds, and this guy does the best trees,
you should have the best picture, right? Certainly better than
that's-
was
the other 400 people who were up for it just weren't good
Tobe Hooper
enough- God smiled on her and those other people are shit!
would have
shown the husband shooting the kid in the back, killing the
Ever think about that? "God said Sally Field should win!" "Oh,
wife. and then getting the little kid to open the bathroom
thank you. Lord." 'Yeah, she did the Flying Nun years ago
door so he can blow the kid's head off. complete with head
was just
too horrible to
LC: Well, it's in the Bible! I got the idea from Abraham and
drop down to the sidewalk and pray, let them do it! What
v.-
Isaac when God said, "Go out and sacrifice your son!" Then
He said. "All right, you don't btu to do it! I just wanted to see
bathroom and find all these kids praying: "All right you kids,
OUT! I GOTCHA!" If you want to pray, you pray. The way you
get thi ngs done in this country is: do 'em, that's all. That's
how you effect change; all the talk in the world means
nothing.
They talked about Ovil Rights for years, but until they
started boycotting the buses and sitting-in in restaurants,
they got nowhere. When they did something about it, change
send their kids in and tell 'em to pray their fuckin' heads off!
this nun who has a baby, and they think it's an Immaculate
you the truth-/ don't know how that bird got there, unless
different things." They said, "No, no, what are you talking
LC: Well, I guess that high priest thought he did it. I'll tell
cept ion. it's a Virgin Birth. Don't you know the difference?"
know how this fuckin' egg got in the top of the Chrysler
129
a very strange way, and 1 was better off not being involved.
LC: Nothing was the same except the opening scene with
the shootingofthe guy"'rith the missing arm, and the last scene
makes it interesting.
or
LC: No, I was only there six days. I shot in wide screen
can have a belief." That's what they always tell you, right?
any of my footage.
tions, just beliet.oe. If you can believe what they're telling you
LC: Well, 1 cast the guy. I cast all the actors with the
exception of Alan King and the actress who played his friend's
widow-1 don't know where they got her! An awful, terrible
was
Anyway, I cast all the pans including the guy without the
arm, and I picked most of the locations and stuff. But I just
LC: I couldn't get along with the company that was making
the picture. They bought the script and then it waschaos; they
were going bankrupt, which they did after the picture was
Q.
130
run.
the report was supposed to state clearly that this guy had a
I'd see the blue pages and the pink pages coming in on her
script, and I'd think, "Oh God! Now they're changing the
where Hammer fi nds out that his best friend all his life has had
know what's going on, because it'll just depress me." And
they'd say to her, "Don't let Larry Cohen see anyofthese new
pages. In fact, we'd appreciate it ifyou wouldn't evenseelarry
Cohen while you're working on thispictu re!" - thus terrifying
the poor girl who just wanted to act . . .
._..
..
experience to have gone through. But it all worked out for the
climax with the leading bad guyand beats him to death with it!
bizarre touch where a dead man's arm is used to kill his killer.
Anyway, once I was offthe picture the new people came in
and just mangled it up; they did what they wanted with it. What
could I do? I went offand made Q. so I think I ended up better
off.
depressed when /,
Now I'm off this picture and eve:, ybody's going to think I got
fired !" The only way to keep going is to make another picture
right away. otherwise you're going to be sitting around for six
or eight months with everybody saying, "Oh, that Larl'}Cohen
got tired and now he can't get a job!"
I was still in the same hotel in New York where eve rybody
from /,
Psychotics are often used, like the guy who shot the Pope
( the so-called Bulgarian Connection ) where the guy talks like
getting him to shoot the Pope? If so, they probably did exactly
nothing.
away." Carradine said, "Sure! I'll come back and help you out."
I went out and got the money, which took about two weeks.
So about three weeks after I was off/, 7bejury I was shooting Q.
7be}UTJI, so
over and over again, doesn't have a single car chase or gun
fight; there are no chases over rooftops, no fist fights.
Bogart
131
Maltese Falcon
today, they'd say, "Okay, we've got to have Sam Spade in a car
chase-it's San
v.-
LC: It's not; the film shows good parts ofhim and bad parts
woman on the:: ground with blood all around it. saying, "What
for what it is. we're not going to sell anytickets." So they went
Crawford-
V:
Hou didyou
get him?
that most of the audience were women; the picture did very
all, he's an older actor and they don't get many offers for
well with the female audience. So what can I tell you? They
leading parts - today there are very few parts written for older
were wrong.
v.-
LC: Sometimes I'll get an idea and just jump in and start
an
important subject and there were good acting roles for them.
was
was
or not.
next, then I'll jump off into a scene some\vhere else in the
story.
flower Hotel, the hotel called their publicist and their publi
and took all kinds of pictures, so it was spread all over town
that we were making the film. The cat was out of the bag.
Then we got lucky. Ford was President at the:: time:: and his
to get out of the corner I've painted myself into. Then, if the
script runs 130 or 140 pages. I'll cut it down to the 103 or
page:: it mt be. But the best thing is to just keep going.
104
wife Betty Ford was a former chorus girl. And she loved Dan
get tiredofthat - I'll just jumpoffinto the other one and it gives
and Mrs. Ford would like to invite Dan Dailey and Broderick
A]:
day? The crew and everybody's onper diem and salaries, and
there's nothing to shoot ifthey're not around. But if I don 't let
them go to the White House, I'll have two actors who are so
pissed off I'll never be able to live with them. So I've got to let
them go."
LC: I just saw movies and then I wanted to put on shows. but
up and try and get locations." So I called up the F.B.I. and said,
the stars are going to be having lunch with President Ford. But
I'd like to shoot the dayafter tomorrow." I got. "Please hold the
line" . . . then they carne back on and it's, "What time would
the truth. and then come back and give:: permission. So that
stories and give the kids their lines and put on these little
productions.
long run. That opened up all the doors; in fact Crawford met
1 32
Generally you had to cut these movies in the camera; there was
LC:
nm
be planned that way. As soon as it came back from the lab it was
then I've got a date and a movie, but I've gotta do my home
tape recorder.
the)'d say that he covered all the angles and everything. He did
paper.
then he'd do the dolly shot in-the elaborate shot and maybe
that would be the one he'd end up using. But I'm sure he did
the other coverage, too.
It's just too dangerous not to do the coverage on the people,
There may have been certain key sequences that he had all
worked out a certain way. But the dramatic scenes and the
a word proces
sor you can talk into and it types out the script,
then I miglH get one. 7bat might be ruce to have; I'm sure that'll
this
that ( crosses
them
out).
You sec these manuscripts ofgreat books and plays that have
been preserved in museums, and you see the way people
write-it's in the margins, up on the corners of the page with
A}:
LC: Oh yes. I'm to blame for that. I usually stand over the
poor editor and newr give him a moment's peace. They always
studio, it's a mess-there's paint all over the place. The same
tell me. "The scene won't cut. There's no way we can make it
work." and I have to figure out some way to make it work. It's
and get it all over you. I don't like the idea of sitting in front of
like a puzzle; there's always one uay that it'll work. Then I say,
"I tell you what : suppose we take the Line at the end and put it at
the beginning.
7hen
that -you have to do it. J'm onJythe editor, I'm not the writer."
the scene to make the cutting all work, if for one reason or
had the guy three or fou r days a week. So he's not in halfof the
scenes: it's a double. But you'd never know it -and to this day
long, you might find the people are in the wrong place. Then
he'll swear h e was there, in scenes that he wasn't in! He's seen
you've got to figure out somt' way to get them back in the right
place. Sometimes you can do it by running the scene
the picture a few times so now he's sure he was there, but h e
wasn't there. Sometimes even I , when I look a t it, have trouble
rememht' ring that wasn't him, that was the double. There
were certain locations he was never even at. So, that was the
hack in the right posi tions by the time the second half of the
man ipulation
you can make a picture with an actor who isn't even there ! And
have
30 or 40
make a movie about the murder, and have the real people play
1 33
the family
was
gruesome!" -to have those people killed all over again in the
about . . .
you died, and you're dead. If anything belongs to you, it's your
some of the real people. He'll have somebody play the part of
the girl victim, but when the time comes he'll actually mix in
real footage of the murder with the fictitious footage.
you and then project them on a screen, claiming they have the
right to do it. Well, dying is also very private. I just think it's a
change and get into his mind and act out his fantasy. Then the
again.
V. Interesting idea involving illusion vs. reality-
script on that!" I said, "No, no," but people didn't believe it. So
Oswald killing Ruby back and forth . . . run it one way, you kill
134
him: run it the other way and you bring him back to life.
The picture's got a lot of interesting ideas about current
Liberty. and they'd say. "Oh. this must have been the god that
they prayed to." Just like some statue discovered in ancient
Greece: "That must be their god, Aphrodite."
did anything The only thing she ever did was to get herself
an interesting free location and it all fit together. The film also
are "interesting."
Nobody's interested in somebody unless they get decapi
tated in some horrible accident or took poison or committed
suicide like Maril)l Monroe. Ifyou li1>e. you just get forgotten
complct<:ly. Your movies get forgotten, and nobody knows
anytl'll)'.
V: Can you tell usabit moreabouthou.voucametomake
films?
LC: Nowadays everybody takes film classes in school; then
who the hdl you arc! You have to really die in a bizarre fashion
says.
U 'C're
flippinR back and forth to The Big Valley Ll'ben you uere
a film
the next show comts on and there's bodies lying there. that
juxtaposition negates the difference. Bodies mY! bodies!
was
is
off or chop their arm off and make it look real - that's great
movie magic. b{:caust: people want to see all that graphic stuff.
They'w sc:cn evcryt hing. and now they want to see more.
everybody to read
Tbe Defenders.
a very
popu lar courtroom series about lawyers. etc that won the
shoes.
write for the show. They liked the first scripts, gave me
LC: When making a mO\ie. you can never tell ll'hat you'll
find. You
set
you say. "Quick! Run up the block and give that guy S2S; we
22
want to use his tmck for a minute." And you bring i t back and
these things as you're going along and you say, "Wow! That
said. "Yeah," and one of the ideas was Branded, about a guy
was a humiliation
on the roof-
show they court-martial him -tear off his epaulets and break
7be
7be
beings infiltrate our society and this guy knows about it and
from now. what would people: find? They'd find the Statue of
V:
LC: Yeah. It was easy. Then I saiO, "Oh god, now I gotta get
LC: Right.
A]: Branded
with the show once it got going; gradually they turned it into
then find out that it didn't make any sense. I had to stop
Earth Stood Still. We had some fun with it, but it was more or
when
before. so . . .
"
Seven with Yul Bryoner, which is not really the script I wrote
(but I got credit for it, anyway ). They screwed that one up;
they cut out the whole middle of the picture, saying there
If you want
'em to turn out like you want, you gotta make 'em yourself. It
crack in the door seeing the murder take place. It was a three
came back and made Hoot>er, which I think was made in '76
time doing it. working with a lot of these new East Village
that had been laying around for years; I didn't have anything
films or birthdays.
caJied Trick.
aJways think about rewriting it, but I never get around to it. I
larry Cohen
holding
promotion
tontainer
of The StuH
for his
latest movie.
tion with Special Effects. The deal was to make two pictures
Photo: Yale
PARTIAL FILMOGRAPHY
and
he's convinced
that
the
kid doesn't
remember him.
He starts hanging around the house, taking the kid out, and
they become like a family. Gradually he becomes aware that
AS WRITER:
One Shoc:king Moment
The Defenders (TV series)
Branded (TV series)
Invaders (TV series)
Cool Million (TV series)
Nature of the Crime
Motive
Suuess
I, the Jury,
Dr. Strange (saipt)
Daddy's Gone A Hunting
Tritk
Dr. Strange
El Condor
Return of the Magnifitent Seven
AS DIRECTOR:
child, and Anne Carlisle's like a feminist who run afoul of her
Meantime the husband wants his kid back and tries to kidnap
it. Naturally she gets the kid back, but we know that the only
ries. It was made before Witness, which has some of the same
script
'W"aS
extras. Corman required that ali the actors who played bikers
TV crc::w noticing.
in the film know how to ride a Harley. and when lead actor
In January of '66,
him, Corman booted him from the film. replacing him with
the man who was to play the second lead: Peter Fonda. By the
as
Harley-Davidsons rumbling
time it hit the theaters, the title of the movie had been
brooding young
Life magazine,
the short end of the stick. Wlen Loser is shot by the police
left alone. feeling his role as a biker is played out, and won-
Jade Nichohon, Harry Dean Stanton (background) ond friends go for o spin in Rebel Rousers ( 1 967).
1 40
the film the Angels felt they'd been betrayed, and sued Cor
Russ Tamblyn laughs maniacally and displays the dead bodies of three of his victims in AI Adamson's classic, Satan's Sadists.
America was ready for bikers; the slapstick Erich Von Zipper
image of the motorcycle menace in Beach Party was being
replaced by a more malevolent image. Outlaw gangs were no
longer something to laugh at-they were a real and present
danger, and the public flocked to see them.
As is always the case in Hollywood, a successful film is seen
as a successful formula, and the race was on to produce biker
films. First out of the starting gate was Devils Angels. uke 1be
Wild Angels, it was produced by AlP and had a screenplay by
World
Rolls On chronicled the exploits of a gang of young hoods. A
year later 7be Angel of the Crooked Street became the first
film to tell the story of
Dead End, a
MY FATHER
last, until by 1957 the boys were cranking out some of the
to
portray
juvenile
delinquency
MYSELF"A l l I k n o w is- n o
were
markedly different from the J.D. films that came later. Usually
the delinquency was based on the dehumanizing effects of
urban life, or on some wrong tum made by the protagonist as
a child. From this point of view it's not inconceivable for one
boy to grow up to be an upright citizen while his brother
turns to a life of crime. as in Public Enemy Number One. Oty
Across the Ritl(?r (based on Irving Shulman's gritty novel 7be
Amboy Dukes) was one of the first films to blame delin
quency on the parents, even though the parental neglect was
caused by the high cost of living in the city-forcing the
parents to work all the time. It's
Wild
One demonstrated that even the smallest town could be
overrun by toughs, delinquency becan1e etJer)'body's
problem.
1955 was a banner year for teenagers. Until then, popular
music meant Perry Como and Patti Page.
Mildred Natwick
?rod.tti ,
CHARUS RACK[TT
DrKttt by
f0f11UNO tOUlOING
!J!tl')llr by WAlnR
was
Saucer-Men and
as
part of
was
7be Blob,
was
into walls and colliding with each other. The creati\'c abili
nation.
strong woman, won the battle but lost the war; her outrage at
was
a hit.
was
young actor named James Dean to play the lead role. Warner
Bros, sure of the film's success after seeing MGM's profits
borderline J.D. film- Dean hardly seems like much ofa rebel.
Juvenile Jungle.
144
Bakalym (with cigarette) and friends pour on the friendly persuasion in JuYenU. Jungle.
pursuit of the fast
were
undaunted, and soon AlP was one ofrhe most successful film
companies in Hollywood. In retrospect, AlP gave us some of
the very best J.D. films of all, including 1be Cool
Crazy,
and the
But Sam Katzman and AlP were by no means the only ones
taking advantage of the teenage film market; two other film
companies, Allied Artists and
Howco-lnremational, also
vism of urban polyglots has become the American norm. Later, the
ghastly nihilism that life alfords nothing ofvalue greater than a "kick"
is asserted. explicitly and defiantly, in an existentialist "poem"
recited for no story-line reason. Its purpose seems to be to pro,ide a
"philosophical" rationalization for bop-jabber. juvenile delinquency
and dope addiction.
Lewis, who seems to be in his early twenties, recently married the
1 3-year-old daughter of a cousin, five months before his divorce from
his second wife became final.
thefilm
'll!enage 1bunder
of the film
By
noir.
ignore, the J.D. films annoyed and angered many people. See
( MGM );
it utilizes
It begins with Jerry Lee Lewis banging out the rock-n-roU beat on
a piano as he "sings" a monm;yUabic "lyric" suitable for the imelli
gence of a baboon. Gathered about him are seemingly wholesome
high school boys and girls. Their juxtaposition to Lewis is deliberate,
and plant the suggestion. later explicitly reiterated, that the primiti-
Vl.'llS
Also dead
was
Party.
was
. ... ,:..
.. -
""'..,
.;-.
'
...
..
... .
United
fun in the sun. The streets of this small Florida beach town
Those
W1x>
ambience of AlP films with his film Beach Ball, a movie about
drunken youths.
In 1960 MGM decided to capitalize on this annual Florida
pilgrimage with
break to meet boys and have fun. Some do, some don't, and
terms. The result was films like SurfParty and Wild on the
Beach, and though they're worth seeing, they lack the pop
W7R4
Love
the power to knock men over just by shaking her hips. Erich
Machine,
7be
was
the
and others. Together they would twist their lives away, exist
sun keeps shining, the music keeps playing, and the supply of
Into every life a little rain must fall, and in the lives of the
Beach Party kids it appears in the form of Erich Von Zipper
Dr. Pepper doesn't run out, they're happy. The only thing
bothering Annette is Frankie's bohemian outlook and resist
monument to ineptitude.
the spirit of these films. Her singing was not so bad, either;
was 7be
Unfortu
cronies, with lines like " You-stupid," and "Uh-oh, the Boss
Party movies, Donna did little more than stand in the back
(Dr.
than seven films were released, all dealing with the joys of
Coldfoot
(Dr.
saw the release of the first Beach Party horror film, HorrorAt
By 1967
longer held the magic for the younger generation it once had.
Wild
Ride
7be
7be
The action moved from the beach to smoky dance halls with
cold.
Drugs
Reefer Madness.
have long been a favorite topic of exploitation
the silent film era, when cocaine was still a new thrill and
grow along the spine. The only way to subdue this creature is
retribution.
joys of LSD, people said they saw monsters, flew to the moon
rage." Being "good kids," Dick and jane resist at first but
TASTE A MOMENT OF .
THE SOUND OF PURPLE
come where the
I
;
Feminist singer Holly Near "grooves out" with Jorct.l Christopher and frienck in Angel. a,...a. Down We h.
de n'gueur
Hypnotist),
effects of acid.
Once
Sadstic
i
Tbe
was Timothy
Acid Mantra;
Or
The
man's classic
Tbe
The
starred George
takes a hefry dose of LSD and spends the rest of the film
film was shot in black and white, but director Edward Mann
hilarious
Hallucination Generation
the subject, actuaJiy took acid before making the film. Along
in color.
Tbe Weird World of LSD aJso examined-purponedly
with 2001: A
ing them
the dangers of LSD, but lacked funds for much in the way of
With
Wanda (7be
Evil Pleasure,
this
aspect.
Tbe
1 49
or,
UD,
I H..o You.
behind bars are unifonnly grim and depressing, yet the same
stories with women replacing the male roles are much more
amusing. The appeal is not merely sexist; women enjoy them
as much as men do. In most films women are presented in
more genteel surroundings exhibiting "ladylike" behavior,
while in WlP ftlms women are hard, mean and take no shit
from anybody. Perhaps in this "breaking of the rules" lies the
beauty of these films.
The WIP film, in its current fonn, began shortly after
World War II. While the men were away in Europe learning
about violence (and sex), the women of America were busy
working, assembling hand grenades and building planes.
When the war ended, America's values and perceptions
would never again be the same.
Women no longer submitted to the role of housewife,
mother, inferior being. Meanwhile, men had discovered that
the bawdy, good-natured sexuality of the French was infi
nitely preferable to the puritanical guilt/shame prevalent in
the States. This shift in attitude is well-chronicled in the
movies of the times; especiallyfilm noir. The vivacious "good
Chained Heat.
151
The most popu lar type of\\1P films durin t he fifties were
the om: <.kal in with teenagers. A.., each year more and more
\\Tre to follow: amon them: Girls ill Plisrm and Girl's 7imn
ning out of ideas for \X'IP films. In 1962 (flgC!d was remade as
1/ouse /' Women This re make was <.: nte rtain ing. but inferior
to the original.
ri ngs. In films like Olga 's Girls and House of 1.000 Dolls.
film you need sets ( although most WlP films suffer from such
films were com ing fro m Europe . .Jc..ss Franco. kn<mn for his
Wa nda tbe
linda Blair plays the "new fish" in a prison where the warden
usually the lead actress. in jail for the first time. TI1e Sadistic
Warden: more often than not the one who proves to he the
root of all C\il and unreM in the prison. me Hooker vo.i th the
befriends the
\Vithout one.
Bg
i
Doll /louse concerned the misadventures of sewral
future.
to
tually the womt.:n escape. but cannot t'\ade their ill-fated dc'>
tinics. The film cost S 12';.()00. and g roo;scd millions. Corman
followed \\i th \fi"nuen in Cages. which did even hetter. Over
the next ten years , <:w World continued producing \Vl P
fi lms. relc:a-.ing such classics as 77Je Hot /lox. T7X! Big 8ird
Cage. TJx 11( Bust-Out. Caged Heat and Terminal Island.
:\lost of these films were made in the Philippines. and in
Roger Corman fa..,hion
hetwct"n tilt.: sex and
interspered
social commentary
,;o lcnce.
to
to
film. In Caged
he year
was
1963.
ments people who fill a garage with food and drink for an
annual feast. Part of the celebration calls for the men of the
were:
ears
and
patrons select the dog that will provide them their next meal.
genre:
TIMES FilM
PRESENT$
omtoo
.JRANCESCO DE FEQ
. .,
GIUSEPPE MAROTTA
.THEQ USUELLI
tnEASTMANCQLQR
<
Might
by Claude
Lelouch was
1 54
no connection with
Mondo Cane 2.
is only partially
Most
Angeles.
Mondo Bizanv
gives us
Mondo Bizann
Manson.
Evt:n
Mondo CLine.
with a confused turtle who cannot find the ocean and some-
10
lay
155
1 56
protested the use of his title, Rodolfo had to find a new name.
xi co's history is a litany ofatrocities -forced Catholi
defended his title from 1942 until the late fifties when
was:
off his
stateside viewers.
feeling he was losing his touch-he retired from the ring and
ugly-looking creature
hard
to define;
crying. Some say the sound of her crying can drive men mad,
or
Glenda
really
two
films in one. The first is the story of a man who enjoys wearing
ccentric and individualistic, Edward D. Wood, Jr.
her about his obsession before they are married; then she
was
made
must choose between her love for him and her revulsion
funds
and
few
Hollywood
connections,
Wood
aka
Plan
Nine Prom Outer Space and Night ofthe Ghouls). Even after
efforts
(Bride
of the Monster
tinued his fiJmmaking career in the porno field with fiJms like
T
ake it Out in 'Jrade and Necromania. Lesser men, if forced
Majority."
critics. Yet Plan Nine is one of the few motion pictures from
Wood, Jr. is rarely guilty of. Some people point out the flubs
and continuity errors in his films, yet these same people are
Tor Johmon returns from the dead in Ed Wood's most famous film,
Plan Nine
from Outer
Space.
1 58
front o f him She lowered her left breasr 1 0 an inch above his
M:arching lips. Suddenly wilh
squeal from his rhroal. he look her hreasl into his mourh for
Ihe hricfct of an insrant. I hen rearing his own clolhes from
did his spceu. With e\'ery care. with caressing joy, he put on
Angie's clothes. lie saved the sweater for last and rook a greal
lengrh of time i n felling it slip do'l"ll over his head. Then he
moved 10 hb dek and pushed a hidden hullon. A great wall
shot.os. hut he had a remedy for Ihat also. Behind rhe mirror he
had a well-Mocked wardrobe from \vhich he sclecred a
pai r
B E L A L U G O S I I/#IIttJ
VAMPIRA
LYLE TALBOT
A J. Edward Reynolds Production
Produced nd Oire<.te<l by Edwrd 0. Wood, Jr.
Rl!lmed by
DCA
film
porn films date from the beginning of the movies; now they
to say that the history of cinema is one with the history of sex
in cinema.
18H. a peep
was born.
This term
Trapped by Mormons, in
Early
Burlnque stripper, "Justa Dream." Note phony black lace inlced in to obscure
Justa's ample charms.
rocking the boat. The fact that he looked like a hick from the
sticks didn't hurt. His image was one of "jes' plain folks" who
newspapers.
Sensational
copy-more
suggestive
than
The party
was over;
Nevertheless, the
ducing a coke bottle into the girl, or of forcing ice into her
not guilty by
With that the national press turned its full scandal monger
any little bit of filth they could sniff. Popular celebrities (e.g.,
Production Code, to see that the rules were obeyed. The man
161
Pagan Island.
"Hays
Commission."
The Hays Commission restrained Holi)'Wood's depiction
of sin, but it didn't stop independent filmmakers from places
like Chicago, Aorida, New jersey, New York, and Texas. The
thirties and forties were golden years for exploitation.
Because most theaters preferred to abide by the restrictions
imposed by Hays, independent producers often ended up
screening their films in tents, strategically placed just outside
city limits. Without intending to, the Hays Commission gave
in Holi)'Wood.
law, carried two versions of their films- one tame and one
(and a
"carny"
sizzling. lf the police showed up, the agent made sure the
tame version was projected. lfthe police left early, the agent
would end with a reel filled with nudity and depravity. This
get away with. The censors' efforts to crack down just made
ing to
warn
was
to
because of this billing the film made handsome profi ts. Peo-
162
163
. . . SX/
"The
CKED
GO TO
H ELLr
164
Bondage and sadism; common themes in the sex films of the sixties as exemplified in this scene from '111 alum Ones.
tion train.
plotlessness, all
the sex film market. Others, like Joe Sarno and Doris Wish
close-ups are often used in many different films. Talk (as well
peared in America.
Some
rlgueur.
imitating Radley
porno "theaters"
Metzger,
was
imitating
With the rise of the home video market, the porno theater
are
life . . .
There is no true continuum from early exploitation films
Hardcore,
on
the
other
hand,
was
spawned
by
the
better do as I say, or else " tone. Nearly all safety and drivers'
minds, fear films aim straight for the viscera. You do not team
tional films and fear films. Each type has its strength.
Through
(often
inadverte ntly)
demonstrating
now
sense
of
Walt
was
intro
Tbe Educa
tional Film Locator says i t best in their description of gore
classic Signal 30: 'You are there when the blackened and
the fear film to a level of fine art. Who else could take a
films reached their peak during the ftfties, when the Ameri
her lunch at the sight of this movie and others like Red
Asphalt and Mechanized Death.
Most highway safety films are little more than a catalog of
catastrophies-Red Asphalt made no attempt to tell a story
or construct a plot. In Wheels of Tragedy, the filmmakers
took real accidents and used actors to reinact the events
leading up to them, switching to the grisly realities for the
167
black man loses his head (literally) while arguing with his
passenger instead of watching the road.
Another common approach is to follow the last few days or
hours of someone's life, ending the film with a horrible
accident. Although seldom as grisly as the "catalog of death"
approach, the film nevertheless can be quite unsettling. In
ren into their seats. It tells the story of Nancy, a toddler who
territory
( which
infanticide.
not
all
factual
filmmakers
observe)
against
down the model pedestrians and leave them lying across the
was
( 1948 )
30,
vs.
Defense films
( 1955
1 69
who wishes to plead for his life ) but the plea for intercession
wedding and life together. The toast pops up rudely, and the
day is on. Joe performs his job (as road electrical foreman)
the empty church to kiss him, since his neck brace prevents
are destroyed.
pass out cigars in the shop. "One can forgive Frank for passing
around the crib for his child. "There is nothing more to say;
he has said it all a million times. Frank has never seen his son."
ln an early film, Bicycling With Complete Safety (
1938 )
hospital bed, his parents wonder where they'll get the money
encouragement.
knowledge.
and
act
as
guides
in
the
quest
for
suggest both the aspiration for a higher goal, and the need to
utilizes
sexual
confusion.
Julia ran away with a man, nearly breaking her heart. When
Julia tried to return, Britt refused, and Julia went mad. The
was
fairy tales as
human nature.
Gun ilia to view her toys, and performs for her a pantomime of
one of Julia's poems replete with stage, costume, make-up,
prehension
emerges
through
make-believe,
replacing
1 72
Young Playthings.
new-found quest for freedom. The release of the self for these
state.
val period. The wood nymph Pan teaches the Red Duchess to
two duchesses cavort with Pan and we are told that those
who have tasted the honey of the nymph's tongue thirst ever
after for its sweetness and dance to the tune of its pipe.
various
personalities
caves and lonely places, and made flocks fertile. He was also
sequences.
The first pantomime concerns the story of a captain who
Gunilla
In the tale of the Peach and Plum Queens and their daugh
Shakespeare's "Midsummer
Night's
Dream."
Puck
wants to play with the Peach and Plum princesses. But they
are timid. and their mothers are present. Puck knows that
queens like to ride, so he produces a strange horse with no
heads, two rumps and two dildoes on its back. The queens
. mount the horse and gaJJop in endless circles of delight, as
the two princesses and Puck make love. Puck tires and flees
into the forest; the
two
strange horse.
The horse symbolism, mounting and riding, is sexually
1 73
recall Castor and Pollux, who lived half of the time in Olym
pus and the other half below the earth. (Compare the des
cent to Britt's room, a chthonic image-delving into the
subconscious.) Castor and Pollux had a cult in Uicadaemon
where they were symbolized by the "do-kang" -two upright
pieces of wood connected by two crossbeams. They are
often identified with the constellation Gemini and are caJied
"riders on white steeds." Their Greek counterparts, the Dios
curi, were connnected with the Phrygian Cabiri, who pro
moted fertility and protected sailors. Phallic rites connected
their worship with the more familiar cults of Hermes, Deme
ter, and Dionysus.
The Hermetic reference is reiterated in the story of a
sorceress whose attempts to unlock the mysteries of the
universe are interrupted by the warriors of two rival queens.
The sorceress gives them a magic potion which causes them
to be drawn amorously together, thus ending the rivalry
between the kingdoms.
)ana has now joined Nora and Gunilla in their vacation flat.
The trio spend days and nights in sexual exploration. Nora
and Gunilla ask for and receive Britt's permission to intro
duce )ana to the group. In the midst of one evening's fantasy,
Julia's taped voice orders the players to place Britt on a
vibrating dildo surmounting a wooden horse: "Show her no
mercy. Put her on the horse. If you hesitate, she will destroy
yuu all as she destroyed me." The tape runs out and the
players stare in silence as Britt rocks savagely on the contrap
tion. Nora begins to laugh; hesitantly the others follow suit.
Gunilla is at first shocked, but eventually joins the others in
their mirth.
The following day, we learn that Britt is very ill . She claims
that her insane sister Julia has escaped from a mental institu
tion and is pursuing her. All the players except Gunilla search
the city frantically for Julia. Nora demands why Gunilla
abstains and Gun ilia replies: "There is no Julia."
''you think Britt is insane."
"I think Julia is a character that Britt has created."
Nora asks why she doesn't just pack up and leave, and
Gunilla responds that she can't tear herself away: "I am as
hung-up as the rest."
But Gunilla senses an irrational undercurrent. She tells
Nora that she and )ana wiJI not be oining
j
in the evening
fantasy, but are leaving instead. Nora rushes to inform Britt,
who silently hands her a knife. Nora returris to her flat, and as
Gunilla rushes up apologetically, stabs her. Gunilla screams
and collapses.
Nora returns to Britt and recounts the deed. Britt announ
ces a change in the evening's exercises, playing instead, "The
Saga of the Red Witch and the Scarlett Countess." The tale
concerns a "tree of sexual fulfillment" which a terrified
princess tries to destroy. Her enraged friend then kills her.
The taped voice orders the players to thrust the scarlet
princess ( Nora) on a vibrating dildo. The voice drones:
"eternal to rment . . . eternal pleasure . . . eternal torment . . .
eternal torment, eternal pleasure, eternal torment for the
woman who killed her friend. Drive her out of her mind so
that she will forever be an inmate of our group."
Nora faces the same predicament which she found so
amusing when Britt was the victim. But Britt's pleasure
torment was martyr-like; she became ill the next day, having
taken on the burdens of the group. Her enforced orgasm
resembled the Dionysian frenzy of a Maenad; she herself
demonstrates a lesson she has been trying to impart: one
must relinquish control, accept role reversal, undergo con
flict, even be victimized, in order to learn. The captain is
united with his white maiden only when he abandons his
regiment and she exchanges her demure persona for that of
an outlaw. The sorceress resumes her lofty pursuits only after
transforming two warring factions into amorous allies. The
Plum and Peach Queens experience pleasure when they are
oblivious to regal status and dignity. Britt's followers gladly
1 74
\\
home and say. 'Ob, uhal a cle11er trickster he isl What a sly
reality is? Hou do you knou that, at this second, you aren 't
and goes to the police with his suspicions. The police, typi
ever
up? Then again, hou do you know thatyou e11er really did
wake up ' In fact, perhaps uhen you bad thought that you
You see uhat I mean. don 't you . . . ? All your life, yourpast.
one long dream from which you are about to awake. and
/"
the show ( " . . . hut first, let us link our minds," he intones
As the film ends, Jack and Sherry are wondering just how
Montag could have performed his heinous deeds. Suddenly
audience dissolves.
disguise, and tears into Sherry with his bare hands. She,
beginning, fating him to "start his little charade all over again
ignored, but the careful viewer will realize this is one of the
most intellectually provocative films ever to emerge from the
. . . " Fin.
screen.
1 75
The New York locations. urban sounds and vivid true-to-l ife
characters fade into a mythic landscape as Peter and Bernard
compete in an epic struggle for power.
God Told Me To
into thl" unknown and there slay the tyrant, ogre or cor
The
concepts rook form and turned against their creators? All hell
made it
dark stairs and she falls, gagging as she dies on the word
ment and the social microcosm of the family are all revealed
Now
how he shot his wife and children. When asked why he did it,
( Sylvia
Sydney)
who gave
him
up
for adoption.
She
new miJienium.
When
1 77
answers,
ing line
old.
The message of the film is greater than the fate of its hero.
was
hypocrisy.
it's great.
cold.
into and falls forsome skirt he knew from his orphanage days.
The fat gun supplier wants more dough, so Frankie offs him.
Then he knocks off the target. When he goes to collect his
This may all may sound somewhat familiar. The plot, how
there's the scene when ( with great difficulry) he kills the fat
guy, initially employing a fire axe . . .
a big kiss. Then a live black jazz band appears with a singer
You were born with hate and anger built in. Took a
slap in the backside to blast out the scream. Then you
knew you were alive. B ibs, 5 oz. Baby Boy Frankie
Bono. Father doing well. Later you learned to hold
back the screams and let out the hate and anger in
other ways.
Frankie almost
and
badly
The
recorded.
Toward
the end
and in fact the only real tension in the film occurs when he
what madness is, or how it strikes? Have you seen the demons
know that in the world of the insane you will find a kind of
you!"
man who came to her aid in the alley) is an abusive lush. Her
box. She appears low-class and amoral. When the father gets
home, his attempts at sex with his wife are repulsed. lben he
Olirico.
and pockets it. On her way out she sees police talking to her
ror is the movie the teens are watching just before 7be Blob
invades the theater. Seeing this scene years later in the origi
nal context can produce a strange deja vu.
The woman snaps out ofher reverie in time to leave the car
and follow the fat man to his upstairs apartment. Inside, the
man sets her aside temporarily for a bite to eat. She watches
from chicken bones with his teeth. For sheer prandial gross
Jr.
After
paper away, but it begins to roll along the ground after her.
the woman; she rebuffs him. He pulls a wad of bills from his
She runs down an aiJey and the paper lands on her feet; a slash
of light illuminates the headline: MYSTERIOUS STABBING.
This time the guilt is explicit.
These scenes reveal genuine directorial finesse. Unfortu
One tries to force her to take a drink, but she resists. Sud
denly a police car pulls up; a plainclothes cop emerges and
begins to beat the man. The woman looks on, laughing
gleefully.
Wandering away from the brutal scene, she encounters a
the
woman
over. She gets in the car; he doesn't. The woman and the fat
man
Daughter of Horror.
smiles, but when he tries to kiss her she pulls her knife and
falls six stories, his money trailing behind him like confetti in
the air.
man bolts the door behind her to keep the police from
the street. Near the body of her victim she pauses to cry.
"Guilty!" the narrator scolds, "Mad with guilt and the demon
lifeless hand. Vainly she tries to pry the pendant loose from
his rigid fingers. Pulling her switchblade out once more, she
man
with his bloody stump. The people in the club look at the fat
man, then turn and point at the woman. The policeman holds
up a pair of handcuffs, the fat man laughs and the people
surround her. She looks down and sees the pendant around
her neck. As the theme song reappears. mingling with the
._.Iller of
Horror.
mother,
her father,
the
fat
man and
the
was
underwhelming, and
1 80
Howe, arrive with their lawyer and his secretary. The Howes
Lit'er Eaters (no livers are eaten) and Cannibal Orgy ( there
for themselves. It's obvious this is all Emily's idea, Peter being
ride.
At
has anything ro do with the film. But the song, with its eerie
ing only members of the Merrye family. This illness causes its
stew only Virginia will eat ("Oh, no, sir!" Bruno warns Peter,
dresses like a little girl and wears her hair in pigtails; Virginia,
Spider Baity.
1 81
children) are damned from the start; we know the kids are
jack Hill, who wrote and directed the film. made dozens of
weird
film nair: the shadows are deep and the lighting melodra
With
simplistic
has long been its due. If not, the film remains one of the best
macabre.
Night of the Litling Dead, Dawn ofthe Dead and Day of the
appall an audience.
critical debate, and for good reason. Not only are these
tribal, group-behavioral
and political
concepts.
1 7 years
propriately enough.
the
in, only to find the building deserted and the phone out of
flesh-eating corpses.
order.
and
boarded-up
windows,
out and pushes her back inside the farmhouse, locking the
camouflaged
elevator
shafts
pacing and action, combined with his ironic wit and pro
the gaspump in front ? How many of those "things " are out
of horror cinema.
182
sketched . . .
newly dead are coming back to life, killing and eating the
here it means your worst fears, the most terrifying and insane
flesh of any victims they can find. Outside, the zombies gain
outside. Tom and Ben volunteer to fill Ben's truck with gas
only
of horror.
and Hungt)'
Wit,es,
grabs the rifle and tells Ben, "You want to stay up here-you
..
can. Ben grabs the gun away and shoots Harry, who tumbles
downstairs into the cellar.
Martin
critical acclaim.
ers
Dead ( 1978).
as
well
as
Readl>l<
1%9
cops -one white, one black; and a helicopter pilot and his
biological imperatives . . .
loot stores and trash zombies right and left, spraying them
Frankenstein
his two survivors ( the black cop and the woman-easily the
tinkering
with
the
"dumbfucks,"
using
almost ). Not only can Bub play a tape deck. thumb through a
In
the
tri logy,
especially
noteworthy
are
human beings-as
be
intelligent,
resourceful,
effective
400,000
cavernous
ing
by
some
to
one.
Within
the
"
on it!" as the zombies greedily tear him limb from limb. The
Romero's
effect
on
horror/gore
cinema
is
plagiarisms of Z
ombie.
scientists continue.
C
hildren Shouldn't Play With Dead Tbings. Night Of 7be
and at least one has fled the country in fear of his life. Would
... .......
and the title changed to 7be Fiend with the Electronic Brain.
was,
thanks largely
1971 more footage was added and the title again changed
Plumage, Four Flies on Grey Velvet, Cat o ' Nine Tails, and
In
Released during the height of the biker craze, the film made
the stand-out
Regina
WIWAM UIIIa
7be
... ....
Leading actor who reached his height of matinee popularity
during the fifties, when he starred in dozens of great horror
and science fiction films. Among them: T
arantula, 7be Mole
People, Brain from Planet Arous, Attack of the Puppet Peo
Night
Warning
(aka
Butcher,
Baker,
Nightmare
KllHUaaaa
ple, Invisible Invaders and Hand ofDeath. Agar got his start
1 86
fROM
AMERICAN INTERNATIONAL
PANAVISIONnd COLOR
IN
HARVEY
JULIE
LEMBECK . PARRISH . wiLLiAM ASHERand LEO TOWNSEN D . wiLLIAM ASHER. j;\t,1'[s''H. NICHOLSON and SAMUEL Z. ARKOFF . ,. '6u'R'i TOPPER
Solomon knew the power of the press -Mom and Dad was a
bit. As with 7be Exorcist, people went to iC to find out what all
the fainting was about.
ested in making the teen fare that took over the low-budget
All
oned for his other classic: Freaks. Even today, Freaks packs a
punch.
.... ......
Texas-based director best known for his psychokiller classic,
Grave open and Poor White Trash II. The latter film has
nothing to do with the original; instead, it tells the story of a
Vietnam vet killing hillbillies.
UIUlY IIUCIIUQ
Filmmaker Larry Buchanan grew up in Dallas, Texas. His
father, a Texas Ranger, died when Buchanan was four, and
the boy spent the rest of his youth in a Baptist institution. As
Naughty Daftas.
are
planet.
Trial of
Osuoald, Goodbye Nonnajean and Down on Us.
D L CAD
1955
It wasn't until
with the help of a mad scientist, gets even with his enemies
by using reanimated corpses to murder them. The film was
Gllll CAffAIO
I
titled
Blonde buxom actress noted for her role as Ginger-a female
1 89
business suits and ties, and aside from the stitches in their
foreheads, appear quite normal Yet their mundane appear
ance makes the monsters all the more frightening. Cahn must
have realized he was onto something with these grey flannel
creatures, since he used them again a few years later in
Invisfble Invaders, the film that inspired George Romero's
Night of tbe living Dead.
Creature Wfth tbe Atom Brain was a big success. During
the late fifties and early sixties Cahn was one of the most
prolific directors in Hollywood, making anywhere from six
to ten movies a year! Although he made several westerns,J.D.
films and crime dramas, he is best remembered for his horror
and science-fiction films. Among them : 1be She Creature,
Voodoo Woman (which featured the She Creature's body
with a different head), Invasion of tbe Saucer Men (a sci-fi
teen comedy starring Frank Gorshin ), and It! 1be 'R!rror
from Beyond Space (the original version of Alien).
During the
patiently in the
were equipped
with inflatable
skeletons that
wu ....
Director who shocked the world with his grimly realistic
portrayal of killers in Last House on tbe Left. His next film
was the classic Hills Have Eyes, about a middle-class family's
struggle for survival when their car breaks down in the desert
and they're attacked by an inbred barbarian dan. Although
talented, Craven is disappointingly uneven. His horror film
Deadly Blessing could have been a classic, but lacked a
needed dimension of outrageousness. Next he made Swamp
7bing, which right from the beginning held little promise.
Surprisingly, Craven turned around and made a classic, Night
mare on
Elm Street,
Twilight Zone
series.
Citllll
Producer
ces almost never chose to let the man live, and the film is now
opus.
T1:H!
own films and is, happily, just as slimy as his scripts. And what
In terms of gimmickry,
In
for SS soldiers. That some of the men who play Nazis are
At
the film is in black and white, in one scene we see bright red
Rosemary's Baby.
story of giant cockroaches that spit fire from their tails. Castle
planned to install little brushes beneath the theatre seats,
which would, at certain times, brush against the calves of the
movie-goers. He nixed the plan when theater owners com
plained it might cause panics. Besides, Castle figured, most of
the theaters showing the film would be providing their own
CRIIWBL
Prophet, soothsayer and good friend of Ed Wood,Jr., Criswell
appeared in three of Wood's films: Plan
space,
gravity will
skies, making air travel impossible; and that the entire human
race will go "pleasantly insane."
eaw. ca
David Cronenberg manages to make films cerebral enough
for the loftiest of critics, yet bloody enough for the most
.... -
was soon
American
woman!
In
Dead Zone, Cronenberg's only film based on someone else's
lar the ones based loosely on stories ofEdgar Allan Poe . Some
serious
Cronenberg is at
Before working on
Bucket of Blood
his
191
llelly ef ........
cally the film is about a man trying to save his daughter from
for the film was handled by jack Pierce, the man responsible
his mad wife, who has the abiliry to give birth, via exterior
who gets in the woman's way. Eventually the man solves the
Naked Lunch, to be
wrote.
bered: Missile
tive ), the Cunha film budgeted more for special effects than
1 92
...
-.ntll
seem very different from each other, yet are really quite
similar. I Drink Your Blood is the story of a group of hippies
who come to a small backwoods community, give an old man
LSD, and in revenge are fed rabies-infected meat pies. Soon
afterward they are reduced to a band of frothing murderers.
One of
Shortly
._ ...
The
ther of modern exploitation is Dwain Esper. During
_
the thtrttes, when the Hays movie code was strictlyenforced,
the camera.
declines interviews.
well, reasoning that adults could see adult fi lms and then
ascertain whether a film should be seen by children. It is
ironic that the very code Dwain Esper defended would even
tually cause the deterioration of the adult movie industry.
....cal
COliMA
In A
voices obviously du bed in. The words are sparse and enig
_
matic; e.g. at one pomt there is talk of people being "caught
up in a web of technology," but what this has to do with the
plot is a mystery.
Coleman
Fine)
(1be
comparatively mundane.
(aka
died.
... .....
One of the most prolific and controversial directors worldng
193
less his films have a definite style and flavor. His overuse of
heavily dosed with sex, most of his films are in the horror
of weird films.
Lll .....,
Beasts.
During the sixties Gordon suffered a dry spell- atomic
monsters were "out" and sex was "in." He was never wont to
explore that subject, a fact that leaves The Amazing Colossal
Man less of a movie than it might have been! He made a
couple of fantasies ( 1be Boy and the Pirates and The Magic
1968
Seven. Supposedly based on fact, the film told the story of two
female Allied spies who allow themselves to be captured by
the Nazis. They are taken to a special concentration camp
where they're forced to have sex with German officers.
Gaffney made few films, but one of them was the outrageous
Bert Gordon not onlywrites and directs most of his films, but
also creates the majority of his special effects. This in itself is
nothing new-Herschell Gordon lewis went so far as to
formulate his oum brand of stage blood-but Bert Gordon's
attempts at special effects, both in scope and imagination, go
far beyond those of other low-budget filmmakers. During the
fifties, when atomic monsters were all the rage, Gordon
convinced his backers he could make movies. about giant
monsters at negligible cost. And he did so-by extensive use
1'1-"
,. "
., ALAN ORMSBY
,.,.,
w.
"' ALAN ORMSBY
Rrlt!ne:d t, AM(RICAN lfifHRNAHONAI.
194
never produced
1973
wild
so
movie.
far he's
...y ...
jerry Gross is better known
career in
1964
as
1966 he
on a O:laln
.. ......
earn
him a place
associated
Boogey.man.
._ L IUII'r
with low
outright
In
MLL, ...
An
!MI
,.
197
Ruggero Deodato is easily the most bizarre; often his films are
sandal cinema.
&.,
This underrated director made the classic J.D. film Hot Car
Girl, about the story of a }'Dung hoodlum (played by Dick
Baka1yan) who ignores the pleas of his squeaky-clean girl
Comic actor who started his career with Walt Disney films,
the police.
Kowalski's next film, 7be Night of the Blood Beast, is a
Quartet.
....... ....
The infamous star of Herschell Gordon Lewis' first two gore
films, Blood Feast and Two 1bousand Maniacs. Her talent
for overacting is unrivaled. When asked where he found her,
Lewis replied,
daughtt:r's boyfrit:nds
into snakes.
Of
Michael
A Russ Meyer discovery who, like most Meyer discoveries,
bas faded into obscurity. Her first film, Lorna, the story of a
MDn MA.. WI
A moody young actor who made an immediate splash as the
heavy in AJP's teens-and-drugs classic, Tbe Cool and the
199
Sc-
In
was
films
The
Spelvin. For
Currently-after
attempting
to
7be
make
successful
During
.. ...
Olaracter actor in literally hundreds of films, like
7be little
'
playing characters on both sides of the law. His best role was
in Roger Corman's
where he
convolutions.
Miller
200
CIIIY
IT ......
An aptly named nightclub entertainer and actress whose
breasts measure a fuJI seventy-three inches. She is better
known for her posters and photos in "tit" magazines. Two
films she stared in, Deadly Weapons and Double Agent 73,
are legendary and incomparable. In Deadly Weapons she
plays a woman who uses her breasts to kill people-a con
cept that doesn't take much suspension of disbelief. In Dou
ble Agent
__ _...y
Director John Parker has only one known film to his credit:
Daughter of Horror which is discussed at length elsewhere
in this book. It's too bad critical reaction to his film was so
lethal; his talent-which was never again displayed-is
indisputable.
.. .. ._
201
( 1981,
starring
..
.
... n..
French sex/horror film director who specializes in erotic
vampire movies. In France he is somewhat of an institution.
Over the past fifteen years he has churned out several movies,
all with similar themes. Among them: Levre deSang, Le Culte
du Vampire. Le Frisson des Vampires, Les Femmes Vampires,
Vierges et Vampires and La Vampire Nue. Of these films, few
have
been
dubbed
into
English, and
..... ......
feed a delivery boy ground glass just for the fun of watching
... ...YII
An actor-dancer with impish good looks, Thmblyn was a
popular actor during the fifties. He started appearing in fi lms
in
... .... 1
The numero uno producer of horror films in Mexico is Abel
Salazar; it would be difficult to find a horror movie made in
Mexico he didn 't produce. Salazar often appears in them and
sometimes writes the screenplays as well. His talent is appar
ent; the films he is involved in are a cut above the average
1950,
attention until
1954
Barbara StHie
UIITAIA
IAili
director responsible for a small masterpiece
apeared
202
Tura Satana
..... ....
French director who created a furor by introducing America
to Brigitte Bardot in And God Created Woman, and the
opportunity to see all of jane Fonda in the sci-fi comedy,
Barbat"ella. Vadim can be tedious-as with Pretty Maids All
WIWA11 C. NO......
........
Horror show hostess during the fifties and star of Ed Wood's
legendary Plan Nine From Outer space. She also appeared in
other films under her real name, Maila Nurmi. During the
fifties, Ms. Nurmi spent a lot of time running around with
make !/sa, She Wolf of the S.S. and Harem Keeper of the Oil
Sheiks as good as they are. Other films featuring Ms. Thome
( sexploita
the phone even after the wires had been cut. Reaction to her
subject. After her creation of the character Vampira, some
pale imitations cropped up, but none can hold a candle to the
originaL
Hate You!
204
be miserable.
(hom honking)
-Mondo Bi%arro
-Incredibly Strange
Creatures
-Blast of Silence
sex.
-Faster Pussycat,
Kill! Kill!
-God Told Me To
fascinating!
-Daughters of Darkness
-Deathdream
------
-------
-The Mask
-Q
MOTHER: I don't
see
Creatures
you
think
Jerry
would
be
mistake?
MOTHER: Yes, I do. Jerry has
no
education. He'll
206
Going Steady
-Q
How's college?
207
-----
--
---------
-Venus in Furs
but it's so
degrading!
-Daughters of Darkness
-------------
----------
glaring headlines.
of
death!
-The love Butcher
spider!
-Mesa of lost Women
No
No
- - -
You're-evil!
-Mesa of lost Women
so
a nation.
-God Told Me To
Regrettable .
-Say, uh
subiect
. .
..
May it ever be
-Mad Youth
------
so
adventurous!
-Orgy of the Dead
209
-----
--
Sex-starved girls
Creatures
Loathsome .
Demented
. Nameless . . . Shameless . . .
. caught in
non-reality.
-The Incredibly Strange
Creatures
210
Mondo Blurro
-Sadismo
------
--------
yet
-----
evil
Gruesomely stained
in Blood Color!
-2000 Maniacs
--------
211
This
The (1971)
(1968)
(1972)
Curucu, Beast of
Hellhole (1984)
Hercules (1983)
(1955)
Depraved! (1967)
Deranged (1974)
Double Agent
73 (1974)
(1975)
lisa; She-Wolf of the SS (1974)
Dragnet (1954)
Eegah! (1962)
Inferno (1980)
Invader (1955)
Equinox (1967-71 )
Brain
That
(1964)
Eraserhead (1977)
Jailboit (1955)
Caged! (1950)
(198 1 )
Freaks (1932)
God'lilla (1954)
lorna (1964)
Cool
and the
The (1972)
1984, The
Gore-Gore Girh,
Great Hunting
luss
LSD-25 (1967)
Tamblyn
Macabre (1958)
Mad love (1935)
........
Maniac! (1934)
s.nm.
in
Martin (1977)
Mask, The (1961)
Mechanized Death (1961)
Mesa of Lost Women (1952)
Mr. Rellik (drivers' ed film)
Mr. Sardonkus (1961)
Mam and Dad (1948)
Mondo Balordo (1964)
Mondo Bizarro (1966)
Mondo Cane (1963)
Mondo Hollywood (1967)
Mondo Mod (1967)
Mando Pano (1965)
Mondo Teeno (1967)
Mondo Topless (1967)
Mondo Weirdo (1965)
Monster a Go-Go (1965)
Moonlighting Wives (1966)
Moses the Lawgiver (1975)
Mothra (1962)
Motor Psycho (1965)
Mudhoney (1965)
Mutations (1972)
Night of the Bloody Apes (1968)
Night of the Ghouls (1959)
Night Tide (1961)
Nightmcre Alley (1947)
Octaman (1971)
Of Unknown Origin (1984)
Orgy of the Dead (1965)
Peeping Tom (1960)
Pink Flamingos (1974)
Plan Nine From Outer Space (1959)
Point of Terror (1971)
Poor White Trash (1957)
Private Parts (1972)
Psychopath, The (1973)
Punishment of Anne, The
Q (1982)
Rabid (1977)
Rat Pfink a Boo Boo (1966)
Red Asphalt
Reform School Girls (1957)
Repulsion (1965)
Riot on Sunset Strip (1967)
Robot Monster (1953)
Robot vs. the Aztec Mummy, The (1959)
Sadismo (1967)
Sadist, The (1963)
Safety Belt for Susie (1963)
Safety in the Shop (1944)
Salon Kitty aka Madame Kitty ( 1 976)
Santo in the Wax Museum (1963)
Satan's Sadists (1969)
Scorpio Rising (1964)
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G I F T C E R T I F I C A T ES A V A I L A B L E
NEWSLETTER
BOOKS
Splatter Times, ($9 sub) 603 S.W. 35th St. #3, Palm City, FL 33490
Trashola t ( 1 981-1985; legendary film/weird culture newsletter
SOUNDTRACK$
Cross, Robin. The Big Book of B Movies. St. Martin's Press, 1981
Angels From Hell, The Peanut Butter Conspiracy, The Lollipop Shoppe,
De Coulteroy, George.
DeGraxia, Ed
Ehrenstein, David and Reed, Bill. Rock on Film. Delilah Bks, 1 982
Ride the Wild Surf, Jan and Dean, The fontostic Boggys. Liberty, 1964
Riot on Sunset Strip, The Stondells, The Mugwumps, The Sidewalk Sounds,
Ron Haydock and the Boppers, (songs used in Rat pflnk a Boo Boo and
The Thrill Killers). Rock and Country Records, 1979
The Trip, Mike Bloomfield and the Electric Flog. Tower/Sidewalk, 1967
Thunder Alley, Annette funicello, Fabian. Sidewalk Records, 1967
Vixen, Bill Loose. Beverly Hills Record Company, 1970
BOOKS BY ED WOOD, JR
(all out-of-print; check used porno bookstores)
TV Lust
Watts
The Difference?
Watts
After?
SONGS
1983 (essential)
Wicking, C.
PUBLICATIONS
(Note: publications listed with a dagger <tl are no longer in print.)
VIDEO SOURCES
sources were chosen for their prices and selections. Endose a SASE.)
Fe of Darkness t (1981-1983)
Gore GaxeHe, c/o Sullivan, 7 3 N. Fullerton Ave, Montclair, NJ 07042
NILES CINEMA, 1141 Mishawaka Ave, Box 70, South Bend, IN 46624
BVM VIDEO (Catalog $1), 11 S Stanton St, Ripon, WI 54971
HORROR HOUSE, 720 West 27th St #337, Los Angeles, CA 90007
199, 204
Attock of the Mayan Mummy
(film) 204
Attack o f the Puppet People
(film) 186
Audubon Pictures, 200
Avalon, Frankie (actor) 147
AVCO Embassy Pictures, 21, 142
Awful Dr. OrloH. The lfllml 10A
Bobb, Kroger aka Howard W.
Bobb (filmmaker) 102, 104, l OS,
1 08, 1 56, 163, 186
Bachelor In Paradise (film) 147
Bod Girls Go to Hell (film) 1 10,
1 1 3; still, 1 1 1
Boer, Buddy ( actor) 192
Bagdad, William (actor) 68
Bokolyon, Dick (actor) 88, 89,
198
Boker, Rick (make-up) 1 1 7
Bolin, Bobby (asst. cameraman)
100
Boll, Warren (odor) 61
Ballantine Books, 1 1 1
Bonner, Jill (actress) 1 8 2
Bora, Theda (actress) 1 6 1
Borborelfo (film) 203
Barbed Wire Dolls (film) 1 5 2
Bordo, Joe "Brick" (actor) 39, SO
Bardot, Brigitte (actress) 1 02,
164, 203
Barkett, Steve (filmmaker) 65,
75
Boron, Allen (filmmaker) 178
Barr, Candy (actress) 164
Barrie, Elaine (actress) 193
Barrymore, John (actor) 176
Basket Case (film) 8, 1 1 ; pix of
Belial, 9; still, 1 4
Bathory, Elizabeth (aristocrat)
187, 194; films Inspired by, i nclude
Countess Dracula, Daughters of
Darkness, The Devll's Wedding
Night, The Female Butcher, Immoral
Toles, to Comtesse Perverse
Bottle Beneath Tlte forth (film) 8
Bava, Lamberto (director) 186
8avo, Mario (director) 1 47, 1 86,
187
Bayou (film): see Poor White
Trash
Beach Boll (film) 147
Beach Bfonlcet 81ngo (film) 186
Beach House, The (film) 98
Beach Party (film) 1 42, 145, 147,
186
Beach Party Films (genre) 146,
147; see also William Asher
Beast of Yucca Flats (film) 193
Beat Generation, Tlte (film): still,
204
Beaudine, William (director)
187, 1 8 8
Beausoleil, Bobby (actor) 1 SS
Because of Eve (film) 1 OS
Beginning of tlte End (film) 194
Bell, Bore and Beautiful (film) 25,
34, 106, 108
Bell, Virginia (actress) 24, 106,
108
Beneath the Valley of the
Ultra-VIxens (film) 79, 201
Benedict, Laura (actress) 39
Beowulf (film-in-progress) 64
Bergman, lngm or (director) 102,
lOS; films of, mentioned, Summer
With M011llca, Tlte
164
Bernard, Susan (actress) 78
Berry, Dale (director) 199
Beyond the Door II (film) 187
Beyond the Valley of the Dolls
(film) 76, 78, 79, 80, 87, ISO, 193;
still, 79
Virgin Spring,
Bicycling With
(film) 170
Complete S afety
192
BOIN-N-GI (film) 34, lOS, 1 08 ;
poster, 107
Bane aka Housewife (film) 1 24,
137
Boogeymon, The (film) 195
Boorman, John (director) 1 8 8
Borgnlne, Ernest (actor) 79
Born Innocent (TV movie) 188
Born tasers (film) 142
Bowongol Bowongol (film) 162
Bowers, Bill (screenwriter) SS,
196
Boy and the Pirates, Tlte (film)
194
Bradley, David (director) 188;
films by, Include Treasure Island.
Peer Gynt, Macbeth, Julius Coeso
188
Braga, Sonia (actress) 39
Brain From Planet Arous (film)
186
Brain of Blood (film) 1 8 6
Brolnlac, The (film) 1 90, 202
Brand of Shame (film) 107
Branded (TV show) 1 35, 136
Brondo, Marlon (actor) 143, 1 46
Brandt, Carolyn (actress) 36, 39,
43, 44, 54, SS; pix of, 56
Breast of Russ .Meyer, The
(film-in-progreu) 76, 83
Bregman, Tracy (actress) 1 52
Bride of the Monster aka Bride af
tlte Atom (film) 1 58
Brood, Tlte (film) 1 9 1 , 192
Brooks, Richard (director) 144
Browning, Tod (director) 1 88
Brownrigg, S.F. (director) 1 88
Brummer, Andre aka Henry
Price (composer) 36, 44
Bruce, Lenny (comedian) 163
Brynner, Yul (actor) 136
Buchanon, Lorry (director) 1 86,
188, 189
Bucket of Blood (film) 52, 1 40,
1 9 1 , 200
Bugl (film) 1 9 1
Summer! (film): poster, 1 03
Buried Alive (film) 197
Burr, Ron (actor) 39
Burroughs, William S. (writer)
22, 192
Bury Me on Angel (film) 142
Butterflies (film) 97
Bye, Bye Brazil (film) 39
CoHoro, Cheri (actress) 1 8 9
Caged (film) 1 5 1
Caged Heat (film) 83, 1 5 2 , 202
Cohn, Ed L. (director) 145, 189
Caligulo (film) 1 S
Calypso Hear Wove (film) 144
Camille 2000 (film) 200; based
on Dumas' Camille
Campbell, Audrey (actress) 92
Campbell, William (actor) 190
Cannibal Girls (film) 8
Cannibal Holocaust (film) 198
Cannibals in tlte Streets (film)
202
Copra, Fronk (director) 1 66
Cardona Jr. & Sr., Rene
(filmmakers) 190
Career Bed (film) 202
Carey, Timothy (actor) 37, 43,
657
Carlisle, Anne (actress) 138
Carmen, George (film editor) 92,
93
Cornivof Roclc (film) 145; remake
of The Blue Angel, 200
Carpenter, John (director) 126
Carrodine, David (actor) 122,
1 23, 1 3 1
Carrodlne, John (actor) 65, 70,
186
Door
(film) 167
ComnMHtlst Blueprint for Conquest
(film) 167
COMentrcrtlon Camp for Gw/s
(film) 1 52
COMrete Jungle (film) 152
Confessions af a Young American
H041Hwife (film) 99
Confessions of An Oplvm Eater
(film) 204
Congo Pictures Ltd., 156
Cool and tile Crcny, The (film)
88, 89, 145, 188, 199; still, 89
Cordell, Frank (composer) 1 1 9
Corey, Wendell (actor) 65, 70
Corman, Gene (producer) 1 99
Corman, Roger (producer) 52,
1 84, 1 9 1 , 192
Crossroads Avenger (film) 1 5 1
C rvlse MluJ/e (film) 75
Cukor, George (director) 111
Cunha, Richard (filmmaker) 192
105
Curious Allee (film) 161
Curse of Her Flesh, The (film) 193
c- of tile Crying w-n (film)
202
Curse of
1 36
1 82, 184
Doy of the Nightmare (film) 75
the forth Stood Still, The
(film) 136
Days of Fury (mondo film) 156
Days of Our Y-rs (film) 1 69,
170
De $ode '70 (film) 194
Dead fnd (film) 143
Dead End Kids, The (actors) 143;
Day
'
1 1 3,
J 3 (fllm) 1 90
DeMille, Cecil I. (director)
1 1 6, 1 1 7
60,
196;
Dr.
Oo/dfoot
us
(film) 187
Herrmann, Bernard (composer)
119
High School C011fiden tlal (film):
review, 1 4 5
High Scltool Girl (film) 1 0 2
Hill, Jack (director) 1 5 2 , 1 8 1 ,
182
Hills Have Eyes, The (film) 191
Hillyer, Lambert (director) 187
Hlp, Hot and 21 (film) 199
Hippie Temptation, The (TV film)
150
History of the Blue Movie, A
(film) 1 64
Hitchcock, Alfred (director) 32;
almost kil led by Ray Dennis
Steckler, 5 3
Hite, Henry (actor) 35
Hollywelrd (film-in-progress) 44
Hollywood Blue (film) 15S, 164
Hollywood Stran!Jior Goes to Las
Vegas, The (film-in-progress) 36, 44
Hollywood Strangler Meets Tho
Skid llow Slasher (film) 37, 47, 57
Hollywood's World of Flesh
(mondo film) 155
Homage to Herschell Gordon
Lewis, An (film) 35
H011eymoon Killers, The (film) 99
Hooked Generation, The (film)
195
Hooper, Tobe (filmmaker) 1 29,
197, 198
Hoover, J. Edgar, 1 1 4, 1 32, 138
Hopper, Dennis (actor) 149
Hopper, Hal (actor) 79
Horizontal Lieutenant, The (film)
147
Horrible Dr. Hitchcock, The (film)
202
Horror At Party Beach (film) 147
Horror Of tho Blood Monsters
(film) 1 8 6
Hostage, The (film) 73-75
Hot Box, The (film) 152
Hot Car Girl (film) 88, 1 9 8
Hot Rod Girl (film) 145
Hot Spur (film) 107
Hot Thrills and Warm Chills (film)
199
House of I ,000 Dolls (film) 1 5 2
House of Psychotic Women (film)
201
House of Women (film) 1 52; remake
of Caged
House on Haunted Hill (film) 1 9 1
Housewife: see Bone
How Much Are Your Eyes Worth?
(film) 168
How To Stuff a Wild Bikini (film)
186
How To Undress In Fr011t Of
Your Husband (film) 107, 193
Howco-lnternotional, 1 4 5
Hullaballoo (TV show) 1 4 7
Hungry Wives aka Jack's Wife
aka Season of tho Witch (film) 183
Hunter, Evon aka Ed McBain
(writer) 144
Huston, John (director) 23, 76
HuHon, Jim (actor) 147
I, A Woman (film) 1 64, 200; still,
171
I A m Curious, Blue (film) 164
I Am Curious, Yellow (film) 164
I Crossed The Color Uno: original
title The Black Klansman (film) 64,
69, 74, 75
I Drink Your Blood (film) 193,
195
I Love Lucy (TV show) 147, 186
I Lunghi Capelli della Morto
(film) 202
I Sailed to Tahi
ti with on All-Girl
Crow (film) 50
I, The Jury (film) 1 1 4, 1 30-132
If (film) 1 1
lisa, Harem Keeper of the Oil
Sheiks (film) 13, 203
lmmarol Mr. Teas, The (film) 34,
76, 82, 86, 1 02, 105, 108, 163
In Cold Blood (film) 134
In tho Land of the Headhunters
(film) 156
Incredible Sex Revolution, The
(film) 204
Incredibly Strange Creatures Who
Stopped Living and Become Mixed
Up Zombies (film) 36-39, 43-45, 54;
campaign for, 26; compared with
fighter, 66
191
Nicholson, Jack (actor) 142, 149,
150
Night Caller From Outer Space,
The (film) 202
Night Dreams (film) 165
Night Of The Beost aka House of
the Blaclc Death (film) 75
Night Of Tlte Blood Beost (film)
198
Night Of The Blood Monster
(film) 194
Night Of The Bloody Apes (film)
190
Night Of The Comet (film) 184
Night Of The Gltouls aka Revenge of
Dead (film) 158, 1 59, 1 9 1
Night Of The Howling Beast (film)
201
Night Of Tlte Living Deod (film)
182-1 83, 1 90
Night Of The Zombies (film) 202
Night Tide (film) 197, 204
Night To Dismember, A
(unreleased film) 1 1 1 , 1 1 2, 1 1 3
Night Train To Mundo Fine (film)
193
the
45
Revolt of the Zombies (film) 197
lllde The Wild Surf (film) 147
lllfHI (film) 1 2 7
lllot In Juvenile Prison (film) 1 99
Ripps, Mike (producer) 43
Robins, Herb (filmmaker) 39, 49,
50, 75
Robson, Mark (director) 136
lloclc Around rite Cloclc (film) 144
Roclcabllly Baby (film): still, 139
RoHman, Julian (director) 202
Rollin, Jean (director) 202
Romero, George (filmmaker)
1 82-1 84, 190; forms Image 10, 183
Rose, Rosa (stripper) 105
Roshea, Tammie (actress) 83
Ross, Doreen (filmmaker) 58, 73
Rossellini, Roberto (director) 1 64
Rater, Ted (actor) 44
Rothman, Stephanie (filmmaker)
147
Rowey, Eddie (actor) 45
Rozsa, Miklos (composer) 132,
1 79
Run, Angel, Run (film) 142
Rush, Richard (director) 142, 150
Russell, Don (actor) 44
Ruvlnskls, Wolf (wrestler) 157
Sadist, rite: see The Profile of
Terror
Safe As You Thinlc (film) 170
Safety In tlte K
itchen (film) 170
Safety in the Shop (film) 9, 168
Safety in Winter (film) 169
Safetybelt for Susie (film) 9, 168,
169
Sahara (film) 40
Salazar, Abel (producer) 202
Salem's Lot (film) 197
Samples, Candy (actress) 83
(Santo VIsits) The Magic Land of
Motlter Goase (film) 35
Santamaria, Erick (director) 202
Santo (wrestler/actor) aka
Constantino aka Hombre Rojo aka
Huerta aka El Murclelago aka
Enmascarado II, 1 57, 201; pix of,
157
Sarno, J o e (filmmaker) 90- 1 0 1 ,
1 65, 1 72; films of, 1 0 1 ; pix of, 101
Sarno, Peggy (actress) 90,
95-100
Satan's Bed (film) 193
Satan's Sadists (film) 1 50, 1 86,
203; still, 141
Satana, lura (actress) 65, 70,
75, 78, 83, 86, 202; pix of, 203
Savage Streets (film) 1 8 8
Savini, Tom (special eHects) 1 76,
183
Saxon, John (actor) 202
Scanners (film) 1 9 1
Schanzer, Karl (actor) 1 8 2
Schmidhofer, Marty (producer)
18
Scream Of The Butterfly (film) 57
Screencraft Enterprises, 1 92;
formerly Toby Anguish Productions
Scum Of The Earth (film) 34, 105,
1 08; still, 1 9
Sean, Fred J . (director) 144
Sebastian, Ferd (filmmaker) 1 07
Secret File: Hollywood (film) 37,
43, 55
Secret Pains (mondo film) 155
Secrets of Beauty, rite (film) 105
s-ds (film) 201
Serpent Island (film) 1 94
Serra, Ray (actor) 99
Seven Brides for Seven Brotlters
(film) 202
Seven Into Snawle (film) 107, 109
Seven Minutes, Tlte (film) 80
Sex '69 (film) 164
Sex and Comedy
(film-In-progress) 107
Sex By Advertisement (film) 202
Sex Kittens Go to College (film)
204
Sexterminators, The (film) 195
Sexual Hygiene (film) 77, 168
Shackleton, Alan (producer) 193
Shatner, William (actor) 52
She Creature, The (film) 190;
remake, 188
Site Demons (film) 192
She Devils on Wheels (film) 1 1 ,
18, 35, 142; poster, 22; still, 33;
sypnosls, 33
Site Frealc (film) 8
40
1 26, 130
Twilight Girls, Tlte (film) 200
Twlllgltt Zone (TV series) 1 9 1
Twltclt of the Dead Nerve aka
aery of Blood (film) 187
Two Tloousond Maniacs aka 2000
Maniacs (fllm) 18, 20, 26, 27, 28,
105, 106, 1 08, 163, 199; plot, 34;
poster, 27; still, 24; theme song of,
sung by Herschel! Gordon Lewis,
10
200 1 : A Space Odyssey (film)
149
Ulmer, Edgar G. (director) 166
Ulysses (film) 102
Uncle Tom's Cabin (novel) 1 04
Undead, Tlte (film) 204
Undertaker And His Pals, Tlte
(film) 75
Urtfl"arded Girls, Tlte (film) 161
Unguarded Moment, Tlte (film)
202
United Artists, 93, 147, 1 5 2
Universal Studios, 53, 1 0 4 , 105,
161
Umone (T-brae) (film) 186; see
also r-brae
Up! (film) 79, 85
Welnrlb, Lennie (director) 147
Weird World of LSD, Tlte (film)
1 49, 195
Wels, Don (director) 147
Weisenborn, Gordon (director)
19
Weldon, Michael (author, Tlte
Ptycltotronlc Encyclopedia of film)
111
Welles, Jennifer (actress) 99
Werewolves on Wlteels (film ) 142
West Side Story (film) 180, 203
What Tltey Scry Aboelt Young Stuff
(film) 99
What's Up front (film): sti ll, 196
Wheels of Tragedy (film) 1 67,
169
When You Are a Pedestrian (film)
169
Where tlte Action Is (TV show)
147
Where tlte Bay Are (film) 147
White Slave, The (film) 161
White Slaves of Cltlncrtown (film)
1 63, 1 99
White Zombie (film) 197
Whitman, Dawn: see Doris
Wlshman
Whitman, Stuart (actor) 50
Wicked Go to Hell!, Tlte (film):
poster, 1 64
Wild Angels, T lte (film) 1 9 1 , 140
Wild Guitar (film) 37, 40, 43, ...
45, 54, 55, 56, 196; still, 42
Wfld Hippy O'lJY (film):
produced by "Pot Heads"
Experimental Films, 150
Wrld In tlte Streets (film) 150
Wild on tlte Beaclt (film) 147
Wild One, Tlte (film) 143, 146
Wild Ones On Wlteelt: see
Drivers In Hell
Wild Wild Winter ( fi lm): still, 146
Wild World of Batwoman aka
Site Was a Hippy Vampire (film)
204
Williams, Edy (actress) 80
Wilmoth, Paul {actor) 68
Wisher, Doris: see Doris
Wlshman
Wlshman, Doris aka Dawn
Whitman aka Doris Wisher
(filmmaker) 1 1 0-1 13, 165
Wltclt Of Hominy Hill
(film-ln- rogress) 93
Wltclt's M rror, Tlte (film) 202
Witchcraft '70 (mondo film) 155
Wizard of Gore (film) 18, 3 1 , 35,
1 1 2; review, 175, 176
Wolf-, Tlte (film) 1 1
w_, In Cages (film) 152
Women in Chains (TV movie) 152
Women In Prison tWIP) Films
(genre) 1 5 1 , 152
Women's Prisort (film) 1 5 1 ; still,
1 52
Wood Jr., Edward D. aka Daniel
Davis (director) 145, 1 58, 1 59,
1 91, 203; d-th of, 1 01 Frank
Henenlotter an, 9; Ray Dennis
Steckler on, 52; books by, Include
Watts . Tlte Difference, It Take1
One to Know One, Killer In Drag,
r,
159
World of tlte Vampires, Tlte
(film) 157
World' Greatest Sinner, Tlte
(film) 49, 57
Worm Eaters, Tlte (film) 50, 7 1 ,
75; sypnosls, 7 1
Wormwood Star, Tlte (film) 197
Woronov, Mary (actress) 152
Wrestling W-n vs. tlte Aztec
Mummy, Tlte (film) 1 90
Written on the Wind (film) 204
Vadlm, Roger (director) 164, 203
Valentino, Rudolph (actor) 161
Vamplra (actress) (real name
Malia Nurmi) 203
Vumplre's Coffin (film) 202
Vampyras/Lesbos (fllm) 194
Van Meter, Ben (filmmaker) 149
Ve Soter, Bruno (actor) 1 79, 199,
204
Veil Of Blood aka Tlte ltevenge of
the Black Sisters (film) 97
Velvet Trap, Tlte (fllm) 57
VertCs In furs (film) 194
Vernon, John (actor) 152
VIce and vw- (film) 203
VIce Girls, ltd. (film) 195
VIckers, Yvette (actreu) 199
Vldeodrome (film) 192
Vlerges et Vampires (film) 202
VIllage of tlte Giants (film) 195;
based on H.G. Wells' Food of the
Gods
VInyl (film) 1 64
VIolence USA (mondo film) 156
VIolent Years, Tlte (film) 159
VIrgin Bride (fi lm) 107
VIxen (film) 85, 871 still, 84
Vood- Woman (film) 1 90
Vorkov, Zandor (actor) 186
Wages of feor (film) 1 2 7
Wal ker, Peter (producer) 105
Walker, Stacey (producer) 107
Wall Of fle11t (film) 97
Walt Disney Productions 26, 168,
198
Wanda (The Sadistic Hypnotltt)
(film) 149
Wanda the Wicked Warden (film)
13, 152
War Gamet (film) 23
War of the Colossal 8ea1ts (film)
194
Warfield, Chris (filmmaker) 107
Warhol, Andy (filmmaker) 164,
204
Warm Nlgltts And Hot Pleaseres
(film) 100
Warner Bros., 83, 124, 126, 1 2B,
, ..
Warren Hal (filmmaker) 204
Warren, Jerry (filmmaker) 204
Warrick, Ruth (actress) 105
Washburn, Beverly (actress) 182
Wasp Woman (film) 204
Waters, John (director) 149,
175, 184
Webb, Jack (filmmaker) 167,
1 68, 1 96
X Marks the Spot (film) 170
Xlca (film) 39
Yang, Tiger (actor) 73, 75
Year 2889 (film) 188; reprise of
Tlte Day the World fnded
Year of tlte Drasron, Tlte (film)
123
York, Dick (actor) 168
York, Francine (actress) 63, 67
You Bet Your Eyes (film) 168
Young and Wild (film) 1 99
Young Playtltlngs (film) 93, 94,
96, 97; poster, 99; review, 1 721 74; stills, 92, 1 73, 174
Youngman, Henny (comedian
actor) 35
Your Hit Parade (TV show) 143
Z-Man aka Superwoman (actor
John lazar) 78, 150
Zaborln, Lila (actress) 68
Zombie (film) 184
Zontor, the Tlting from v..,us
(film) 1 86, 188; remake of It
Conquerecl the World
Zarro, Tlte Goy Blade (film) 1 09
Zohl (film) 1 9 1
Zugsmlth, Albert (producer) 145,
204