Tag Archives: Exploitation

1963 DRIVE-IN DOUBLE FEATURE: THE GHOST AND DEAD EYES OF LONDON

Coming Soon…

“From caves and sewers come The Slime People! They kill, kill, kill! There’s no escape from The Slime People! Nothing can stop the horror of The Slime People! For a new adventure in terror, live through the wild blood bath of The Slime People!”

And Now, Our Feature Presentation!

The Ghost (directed by Riccardo Frida) stars in another homicidal adulteress role. Hyped (misleadingly) as a sequel to Frida and Steele’s successful The Terror of Dr. Hichcock (1962), The Ghost, is woefully predictable and is not this director’s best work. However,  Steele is nearly at her best, and puts to rest any questions regarding her status as a genre cult icon.

Terminally ill invalid doc John Hichcock (Elio Jotta) is obsessed with seances, while his wife Margaret (Steele) carryies on a torrid affair with her husband’s physician Charles Livingstone (Peter Baldwin). John has a loyal governess in Catherine (reliable character actress Harriet Medin; a regular and memorable as the POTUS in Death Race 2000) who suspects that her mistress is up to no good. Impatient for John’s natural demise, Margaret plots with Charles to whip up a batch of poison. The dirty deed carried out, the philandering couple don’t count on a hitch in the will and an avenging ghost before their inevitable comeuppance.

Poster for The Ghost (1963)Frida’s ho-hum scripting plods, but The Ghost is salvaged by Steele’s malevolent magnetism (Raffaele Masciocchi’s camera swoons over her). Flavorfully-filmed, unnerving vignettes include an animated wheelchair descending the stairs (prefiguring The Changeling), a nightie-clad Steele wielding a razor, a scheming feline Medin ascending the stairs, flaming annihilation, and a magical finale with betrayals galore. The Ghost is probably the only film in history that has you rooting for a murderess in a fur coat.

Intermission…

“Take a break. Add to your enjoyment of the show with the taste-tempting array of special treats available to you at the refreshment stand. Everything to temp your palate… And everything is fresh… and of finest quality. Pep Up! Fresh Up!  at our refreshment stand!”

“Let the light of faith shine upon you and your love ones. This week and every week … worship together in the church of your choice. ”

“If you should accidentally tear speakers off… turn it in at refreshment building, box office or to any attendant. ”

“Is everybody happy? Then let’s go… it’s showtime!”

It’s Showtime!

Dead Eyes of London (directed by Alfred Vohrer ) is a smartly paced gem in the German “Krimi” genre. Based on the Edgar Wallace novel, it’s a notably superior remake of 1939’s The Dark Eyes of London (directed by Wallace Summers, which in itself is a slightly underrated opus in the canon, although hindered by ill-fitting comedy relief). This Vohrer remake improves on the simplified original with an aptly complex script by Egon Eis. Vohrer, who practically made a career of cinematic Wallace adaptations, has an affection for the material which is contagious.

Still from The Dead Eyes of London (1963)Hairy, blind, -like brute (Ady Berber) dispatches victims galore, frequently in the London fog, choreographed effectively to the famous first movement of Beethoven’s Fifth Symphony. Inspector Holt (krimi favorite Joachim Fuchsberger) finds the victims in the Thames. They all have braille writing on their persons and, it turns out, sizable insurance policies.

Heinz Funk’s idiosyncratic score aptly echoes a cast of equally idiosyncratic characters, including Eddi Arent as a knitting Scotland Yard sergeant, and so-slimy-he-leaves-a-trail (and also wears-his-sunglasses-at-night) . It’s outlandishly violent and spiked with queer humor (a mouthy water-pick view, a killer boob tube, a voyeuristic crucifix, a blowtorch-wielding priest, and a skull with smokey treat treasures). Vohrer makes memorable use of stylish sets and costume design, enhanced by Karl Lob’s crepuscular lensing. It’s probably a notch shy of being a contender for the List, but it’s highly recommended for the locals.

“Please remember to place the speaker on the post when you leave the theater.”

This review, including the drive-in bumpers, refers to the double-feature DVD available from Sinister Cinema.

1979 EXPLOITATION TRIPLE FEATURE, PART TWO: MALIBU HIGH AND THE BUTTERFLY MURDERS

Gas Pump Girls (directed by Joel Bender) is a slice of 70s drive-in T&A. Not aspiring to be anything else, it revels in its Americana kookiness. June (Kirsten Baker) takes over a gas station from her uncle (Huntz Hall from the Bowery Boys) after he has a heart attack. She trains her tight tanktop, short-short-wearing girlfriends to pump gas (“Stick it in, squeeze it, and let it peter out”), which naturally leads them to take on a big bad oil company. Musical numbers and topless scenes are thrown in just for the hell of it, and why not? There’s a punk gang, too; the film is almost a hybrid of the Ramones doing a Grease soundtrack on a “Happy Days” set with a bit of Rocky thrown in. Yes, it’s that cool. It was influential and Bender does wonders with virtually no budget, making this quintessential 1970s trash.

H.O.T.S (directed by Gerald Seth Sindell) is another uddersploitation offshoot of Animal House. It can be summed up as politically incorrect campus topless football. Given that its inspiration isn’t very good to begin with, H.O.T.S. doesn’t set it sights very high, and is all the better for it.

Linda Blair’s cleavage, Linda Blair’s legs, lots of hair, lots of polyester, lots of spandex, and lots of skating add up to a late 70s campfest in Roller Boogie (directed by Mark Lester). It’s embarrassing in the best way.

Bad men kidnap a busload of pretty, all-American cheerleader boobs in The Great American Girl Robbery (directed by Jeff Werner). Ra-ra.

Malibu High (directed by Irvin Berwick) is what 70s drive-in cinema was all about—sex, drugs, and amorality. Hallelujah! Kim (Jill Lansing, in her only film role) is flunking school, just got dumped by her boyfriend for a rich bitch, hates her bathrobe-wearing mama, and her daddy killed himself. What’s a girl to do? First, bed all the teachers. Now, Kim has a 4.0 GPA, but she wants nice things, too, dammit. With her new miniskirt, Kim figures she might as well get paid for what all those stupid girls do for free. Meet Kim, the hooker who’ll rock your van into the gates of paradise. Alas, poor Kim also likes the wacky tobaccy, and we know what that demon will do—turn you into a gun-toting hitman with a pop-gun. Lansing plays her sociopath without an ounce of sympathy and even less talent, with thespian skills so tawdry that it’s easy to see why she became a minor cult goddess. Even worse is the writing, which seems penned by a clueless tenth grader, and the score by a tone deaf composer. It’s mind-boggling enough to be a trash masterpiece that can rank with the likes of .

Mistress of the Apes (1979)In the future, future generations may see fit to an erect a future Mount Rushmore homage to the likes of , , , and Larry Buchanan in the future. And why wouldn’t they, with gems like Buchanan’s Mistress of the Apes? See Susan (Jenny Neumann) fill a pair of white daisy dukes. See Susan teach a missing link how to deep throat a banana. See Susan scratch her armpit and beat her boobs. See Susan become goddess of the jungle. Among the injustices of the world is the academy’s total failure to nominate “Ape Continue reading 1979 EXPLOITATION TRIPLE FEATURE, PART TWO: MALIBU HIGH AND THE BUTTERFLY MURDERS

1979 EXPLOITATION TRIPLE FEATURE, PART ONE: THE RETURN OF THE BIONIC BOY

The final year of exploitation cinema’s greatest decade begins with Alien, the film that made the careers of director and star Sigourney Weaver.   stands out in a top-notch ensemble, which includes the late , Tom Skerrit, Yaphet Kotto, , and Veronica Cartwright. Seven years later, took a very different route with the belated, high octane sequel, which, unlike its predecessor, was an immediate hit. Apart from the performances of Weaver and , however, Cameron’s sequel doesn’t stand up, lacking the tension, freshness, and sense of wonder of Scott’s original, which took its time earning its cult status.

Likewise, The Brood cemented ‘s reputation as a startlingly original and provocative filmmaker. Status quo critics, such as Roger Ebert, were mighty offended. Thank God.

Staying consistent, Ebert missed the boat again with ‘s PhantasmIt spawned a lot of imitations, including Coscarelli’s inferior sequels, which have curiously imitated the imitators.

‘s Nosferatu The Vampyre is a homage to ‘s original. Although some will undoubtedly scream blasphemy, Herzog’s effort, starring in the role made famous by Max Schreck, is the equal of the 1922 classic.

Dracula (directed by John Balham) was an unnecessary big budget remake with the Count (Frank Langella) with feathered hair. Laurence Olivier and co-starred.

With the success of Carrie, it was inevitable that Stephen King’s second novel, Salem’s Lot, would be adapted too. Surprisingly, it was made into a mini-series. Even more surprisingly, it’s directed by , although like Poltergeist, it feels more like the work of its producers. David Soul, riding high on his “Starsky and Hutch” popularity, stars, but James Mason, as usual, steals the show.

Still from The Devil's Three (1979)Cleopatra Wong (Marrie Lee) showed up in 1979 for a couple of ass-whuppin features: first in Bobby A. Suarez’ The Devil’s Three (AKA Mean Business). As usual with Suarez, oddity is in his DNA. In order to save the day, Cleopatra has to dine with the devil (Johnny Wilson), who’s not literally the devil—he’s just a gang lord who goes by that name. Along the way she picks up a flaming bunny in drag (Chito Guerrero) and a four hundred pound psychic (Florence Carvajel) as sidekicks. It’s low budget, badly dubbed, G-rated (well, perhaps PG-rated) lunacy at its most inspired. It probably played at every drive-in theater in the country, for which it was tailor-made.

The Return of the Bionic Boy features a returning Wong, teaming up with the Bionic Boy (Johnson Yap) who is not only bionic, but also an eight-year-old Tae Kwon Do master. Suarez and company jump on the bionic bandwagon, pitting our heroes against Nazis, laser thingamajigs, the campiest gay villain in all of cinema history, and a fire-breathing pseudo-Godzilla as the cherry on top of the icing on top of the cake. Being expired cheese, this comes with a manager’s special discount, including a fee pack of antacids for afterwards. Enjoy.

Amityville Horror (directed by Stuart Rosenberg) was a phenomenon, Continue reading 1979 EXPLOITATION TRIPLE FEATURE, PART ONE: THE RETURN OF THE BIONIC BOY

1978 EXPLOITATION TRIPLE FEATURE, PART TWO: MARTIN

Continued from 1978 exploitation triple feature, part one.

The Mountain of the Cannibal God (directed by prolific trash guru Sergio Martino), is possibly the most well-known film of the Italian cannibal genre, primarily because it has name stars in Stacy Keach and Ursula Andress. Being Martino, it naturally revels in its nastiness, which runs the gamut from castration to decapitations, shots of human entrails, and actual footage of a monkey being devoured by a python. A nude Andress certainly helped its box office. It was yet another video nasty staple in the heyday of mom and pop video stores.

Still from Starcrash (1978)Starcrash (directed by Luigi Cozzi) stars cult fave Caroline Munro in a blatant Star Wars ripoff. There’s other people in it as well, like David Hasselhoff (in his film debut) and , but it’s Munro that audiences went to see, and it’s a hoot to boot.

Starhops is a sort of Star Wars parody, but it’s essentially juvenile sexploitation, surprisingly directed by a woman: Barbara Peeters. It’s obscure, for obvious reasons.

The Dark Secret of Harvest Home (directed by Leo Penn) is a Gothic horror TV mini-series starring grand dame , still riding high post-Whatever Happened To Baby Jane? (1960). Adapted from the Thomas Tryon novel, it’s winningly offbeat with a high camp performance from Davis as the town matriarch. For unknown reasons, it’s home video distribution has been spotty, only briefly becoming available on VHS in a badly mutilated version.

goes zombie with Grapes of Death. Being Rollin, it naturally is going to have a twist—amusingly, zombifying wine. Opulently bloodied, the film has a reputation as being weaker Rollin. Actually, his virtues here outweigh his usual flaws.

They Call Her Cleopatra Wong (directed by Bobby A. Suarez) stars Marrie Lee as an Asian 007 kickin’ ass of a buncha baddie henchman disguised as nuns. Naturally, it was an epic influence on . Low-budget explosions, scantily clad femme fatales, kung fu galore, and wretched dubbing. Sorry, but you can’t call yourself cool ’til you’ve seen it.

Now, when we think we’ve grown immune to a decade full of the unexpected, we encounter Charles Burnett’s “” feature Killer of Sheep, which is one of the most unsettling films of the decade and entirety of cinema. The title refers to Stan (Henry Gayle Sanders) who works in a slaughterhouse and lives in the ghetto where there are principles, despair, poetry and, ultimately, a lack of liberty. Like Stan, the film does not progress, and it really should be required viewing for every Neanderthal who can’t seem to grasp the fact that an entire race oppressed for half a millennium here is not going to “bounce back” by itself in a mere fifty years. This was Burnett’s Masters thesis, shot on a mere $10,000 budget. It remained Continue reading 1978 EXPLOITATION TRIPLE FEATURE, PART TWO: MARTIN

1978 EXPLOITATION TRIPLE FEATURE, PART ONE: THE BOYS FROM BRAZIL AND THE FURY

We open 1978 with a double feature of also-rans from the nunsploitation subgenre. It appears the not-so-good sisters unwittingly blessed the exploitation/horror/science fiction genres, because the year is chock-full of titles that cleaned up at the box office.

The Sins of Sister Lucia (directed by Koyu Ohara) isn’t boring with its ramped-up sleaze and nudity, but it’s also derivative of every nunspolitation feature made, without a single surprise. It was a hit in Japan where the genre was gold.

Behind Convent Walls (directed by ) manages to be a dull affair, even with bestiality thrown in.

 Zombies go to the mall in Dawn of the Dead, ‘s belated sequel to Night of the Living Dead (1968). It was a huge critical and commercial success, with the late Roger Ebert proclaiming it one of the greatest horror films ever made. Unnerving and well-crafted, it still can’t match the original, and Romero topped it this year with his masterpiece (below). remade DotD in 2004. Not surprisingly, it’s a piece of crap.

‘s Halloween became the most successful independent film up to its time, setting the mold for American slasher films, and consequently having much to answer for. It’s supremely well-crafted and still holds up far better than the bulk of its offshoots and pseudo-sequels. Doc Loomis () warns of the evil known as Michael Myers, who escapes the asylum and steals a mask, guaranteeing a visceral Halloween night for Laurie (Jamie Lee Curtis, who became the modern scream queen, as her mother, Janet Leigh had been for Psycho). Carpenter’s handling of the violence is near perfect, but the supernatural ending is a curious misstep.

The Toolbox Murders (directed by Dennis Donnelly) has a cult reputation as being one of the sleaziest and grittiest low-budget films ever made. It stars and earns its rep.

Don Siegel’s orginal Invasion of the Body Snatchers is an undisputed genre classic and one of the best films of the Fifties, which makes Philip Kauffman’s kinetic 1978 version all the more surprising, because it’s equally superb and excitingly expands on and reinvents the original. , Brooke Adams, Veronica Cartwright, , and Leonard Nimoy do exceptional work. Don Siegel, Kevin McCarthy, and Robert Duvall have memorably chilling cameos in a film that puts contemporary horror to shame. This was the second of four adaptations of Jack Finney’s novella. The Body Snatchers (1993, directed by ) is a successful further variation, but The Invasion (2007) was one visit too many.

Take a big director, a big author (Ira Levin), and a couple of big stars, put them in a big budget Hollywood production of a popular exploitation genre () and show those indie filmmakers how to do it. The result is the laughably ludicrous The Boys from Brazil. Director Franklin J. Schaffner is wrong for the material, but he’s not as wrongheaded as playing mad Nazi Dr. Josef Mengele. At the time, the whereabouts of the Auschwitz Angel of Death was unknown, which opened a path for much paranoid speculation that went both ways. Continue reading 1978 EXPLOITATION TRIPLE FEATURE, PART ONE: THE BOYS FROM BRAZIL AND THE FURY

1977 EXPLOITATION TRIPLE FEATURE, PART ONE: SHOCK WAVES & SATAN’S CHEERLEADERS

Star Wars, Annie Halland  becoming a corpse were the entertainment events of 1977; but exploitation/horror cinema hardly noticed, driving ahead full-throttle with Third Reich obsessions in this banner year for Nazisploitation. Naturally, queen was still cracking the whip. Unfortunately, Ilsa the Wicked Warden was directed by , and he is no . Franco’s direction is, as usual, languid. Still, Thorne, now a redhead, has undeniable charisma. Originally, this was not an official Ilsa title—the wicked warden was originally Wanda—but was christened with her name somewhere along the way.

Still from Ilsa, Tigress of Siberia (1977)Thorne was extraordinarily promiscuous in 1977, appearing in a second Ilsa: Ilsa, Tigress of Siberia (directed by Jean Lafleur). More flesh and blood along with multifarious locales makes this a far better entry than Franco’s effort, while still not at the level of Edmonds’. This was the last of the Ilsa films, which undeniably make up the most notorious of exploitation franchises.

Blatant Ilsa ripoff Elsa: Frauline Devil (directed by Patrice Rhomm) commits the cardinal sin of exploitation: it teases more than it delivers.

The same can’t be said for Last Orgy of the Third Reich (directed by Cesare Canevari), which features cannibalism and death by German Shepherds and rats, but this one’s different. It has a  brunette warden (Maristella Greco).

A pubic-hair eating rapist dwarf actually outdoes the lesbian concentration camp warden in SS Hell Camp (AKA The Beast in Heat, directed by Luigi Batzella). Macha Magali is the Aryan camp dominatrix filling in for Dyane Thorne. It tries to outdo the competition, and succeeds (with multiple brutal rapes, pulling out fingernails, castrations, rats, etc), but even with all that going on, it still manages to be a dull affair. It’s still banned in the U.K.

Italy continued its love affair with Nazis (at least on screen). Nazi Love Camp 27 (directed by Mario Caiano) has a decent budget, wretched dubbing, notorious hardcore sex, and a good, central performance by the tragically short-lived Sirpa Lane (from The Beast) as a Jewess out for revenge.

The Red Nights of the Gestapo is another Italian entry in the genre. Directed by Fabio De Agostini, it is clearly influenced by Tinto Brass’ Salon Kitty (1976) and features a Third Reich orgy and farting torture. Brass was more adept at this kind of thing, for what that’s worth.

Frauline Devil (AKA Captive Women, directed by Patrice Rhomm) features German hookers being sent to the camps to service the poor overworked Nazis. It has a  lot of wretched accents and amateur costume design, with Nazi uniforms looking like they just came off the racks. Worst of all, though, it’s a big tease in both the sex and Continue reading 1977 EXPLOITATION TRIPLE FEATURE, PART ONE: SHOCK WAVES & SATAN’S CHEERLEADERS

1976 EXPLOITATION TRIPLE FEATURE, PART TWO: THE WITCH WHO CAME FROM THE SEA

The beauty of the 1970s is its obsession with multifarious genres and trends, but the hardly means all the movies are good. A case in point is ‘s Eaten Alive, which jumps on the killer animal bandwagon started by Bruce the shark, who shows up here as a laughably fake big green scaly lizard. Naturally, Hooper taps into his own hayseed folk focus, which include Texas Chainsaw‘s tied-up Marilyn Burns, a very creepy Neville Brand, an almost unrecognizably made up Carolyn Jones, and a very kinky fellar named Buck, played by Robert Englund. Another 70s tendency, which would be unthinkable in the next decade, is the terrorization of tykes. Here, a poor little crippled girl gets to witness her doggy become gator bait. She’s further terrorized by dysfunctional parents, including a pappy lookin’ for a nonexistent eyeball (!)  It’s a weird indie (but, by no means not List-worthy). Hooper is still in full exploitation mode before Spielberg ruined him with a professional filmmaking lesson for Poltergeist (1982)—not a bad movie per se, but with a few exceptions, it threw Hooper permanently off course.

Poster for Grizzly (1976) No award will given for guessing what film Mako: The Jaws of Death (directed by William Grefe) is shamelessly ripping off. It stars Richard Jaeckel using sharks to exact revenge. Better is William Girdler’s Jaws-with-claws, Grizzly, which stars Christopher George and the busy Jaeckel (again). It’s an unadulterated rip-off, made all the better for its trashiness.

Jeff Liberman’s Squirm is a hoot. Think Jaws as a buncha earth worms. It’s roguish humor is winning. It was a video store favorite for years, usually found next to the sticky floor section.

Surprisingly Rattlers (directed by John McCauley) are a duller, less threatening lot than fish bait.

Frustratingly, The Rat Savior (directed by Krsto Panic) remains an elusive gem. It won several awards at genre festivals, was available briefly on beta-max, was shown rarely on television and in arthouse cinemas (where I caught it a quarter of a century ago), and is only available on YouTube, devoid of subtitles or dubbing. It has recently been released on a PAL DVD in its original Yugoslavian language, which will hopefully pave the path for an accessible statewide release. Based on the novel by Alexander Greene, it’s a rodent-infested variation on body snatchers crossed with John Campbell’s shape-shifting “Thing.” The nasty cheese-eaters kill and impersonate human victims. The resident scientist (Ivica Vidovic) develops his own pesticide. However, once the rats impersonate a human, there’s no way to differentiate them, and mistakes are bound to happen. The Rat Savior is allegorical, political paranoia; a one-of-a-kind film, awaiting rescue from obscurity.

The House with Laughing Windows (directed by ) is a rare giallo that’s more unsettling than stylish. Already covered here as a Continue reading 1976 EXPLOITATION TRIPLE FEATURE, PART TWO: THE WITCH WHO CAME FROM THE SEA

1975 EXPLOITATION TRIPLE FEATURE: ILSA, SHE WOLF OF THE SS, SWITCHBLADE SISTERS, AND SHIVERS

In 1975, Steven Spielberg’s Jaws defined the idea of blockbuster as we now know it. Despite the epic career that followed, the director has never surpassed this early work. It’s really a full-throttle horror adventure about the trio of shark hunters Roy Schneider, Robert Shaw, and Richard Dreyfuss; a fact that amazingly eluded MCA when they produced numerous sequels (without Spielberg) that reduced Bruce (the shark) to an underwater Jason Vorhees.

The Rocky Horror Picture Show defined “cult classic” like no other film before or since. Although it was relatively slow to take off, it became the staple for audience participating midnight showings and undeniably the number one cult film of all time. It was stupidly remade by Fox (imagine that) in 2016 and deservedly flopped with both critics and its TV audience.

Salo, the 120 Days of Sodom was the last and most notorious film of before he was brutally murdered under mysterious circumstances, shortly after filming. The film itself is only for the strongest stomachs.

Ilsa, She Wolf of the SS (directed by Don Edmonds) is one of the most notorious of cult films and made a bonafide 70s grindhouse superstar out of former exotic dancer and softcore porn actress . The main role is loosely based on Ilse Koch—the “Bitch of Buchenwald.” The historical Ilse, wife of the camp’s commander, was known to have frequently flogged prisoners, including pregnant women. At one of her trials, witnesses were produced who testified that she chose Jews with unique tattoos for extermination so that she could keep their skin. After two trials, she was sentenced to life in prison in 1951 for crimes against foreigners, incitement to murder, and attempted murder. In the last few years of her life, she became paranoid that former camp prisoners were conspiring to kill her, and committed suicide in her cell in 1960.

Shot on the same sets as “Hogan’s Heroes,” the film is thoroughly a product of its time. Under that lens of horror/sexploitation/torture porn, it’s less offensive than either a TV series that makes light of the Holocaust or torture porn dressing itself up as sacred Easter pageant theology (2004’s Passion of the Christ). Still, one can question the entertainment value of a buxom blonde Josef Mengele conducting monstrous experiments, but 70s audiences had no qualms, flocking to see it in grindhouse theaters and making it enough of a hit that three sequels followed. Ilsa’s motive for torture is to prove that women can endure more pain than men and should therefore be allowed to fight on the front lines, which is about as convincing as the movie’s opening statement from the producers defending its historical accuracy. It’s unlikely to inspire contemporary viewers to go to do research on Wikipedia. There’s not much in the way of plot, but purely as exploitation, it’s resoundingly successful in accomplishing what it sets out to do.

Poster for Ilsa She Wolf of the SS (1975)With this subject matter, a solid performance is needed. Thorne, with tight, low-cut white blouse and swastika armband, delivers in spades, spitting dialogue out of thin, cruel lips. It must be a testament to her onscreen Continue reading 1975 EXPLOITATION TRIPLE FEATURE: ILSA, SHE WOLF OF THE SS, SWITCHBLADE SISTERS, AND SHIVERS

1974 EXPLOITATION TRIPLE FEATURE: ANDY WARHOL’S DRACULA, IT’S ALIVE, AND LEGEND OF THE 7 GOLDEN VAMPIRES

1974 brought a cult movie smorgasbord, beginning with Andy Warhol’s Dracula (AKA Blood for Dracula, directed by ), which is better known than the previous year’s Andy Warhol’s Frankenstein. It again stars (as the bloodsucker) and (as the servant Mario), along with famed Italian director Vitorrio De Sica as a patriarch with four daughters who need marrying off. Kier’s count is sick, depressed, and bored to tears. He needs virgin blood, but post-sexual revolution, that’s not easy to come by. Three of the four candidates turn out to be sloppy seconds, making the Count even sicker. When he finally does find daughter four to be a virgin, the meddlesome Mario saves her in the predictable way, with Dracula diving to the floor to lap up popped cherry sauce.

Still from Blood for Dracula (1974)Knowingly misogynistic, with a splendid score (Claudio Gizzi), an over-the-top finale that puts some of the sillier Hammer vampire dispatches to shame, and a cameo, Blood for Dracula is far from perfect, but endures as a cult oddity.

‘s Phantom of the Paradise is probably the best film based on the Gaston Leroux novel. It’s greatness lies in its refusal to put the original narrative on a pedestal, which, despite what a certain hack composer named Webber claims, is not that good anyway. It quickly secured its cult standing, but is often considered to be under the shadow of 1975’s The Rocky Horror Picture Show. Both are delightful, but if it’s an either/or situation, go with De Palma. His is the better film.

The Night Porter (directed by Liliana Cavani ) was to 1974 what Fifty Shades Of Grey was to 2015, the difference being the S&M relationship here is between a former SS officer (Dirk Bogarde) and the Jewess he tortured in the concentration camp (). It’s arthouse reputation secured a strong following for years, and it was eventually released on home video via the Criterion Collection. It wasn’t unanimously loved; Roger Ebert was among its critics, in an almost infamous review.

Rampling co-starred  in her second 1974 cult movie with ‘s Zardoz, appearing alongside in a ponytail and diaper. It’s yet another 1974 entry that made our official weird movie list.

Hyped as a soft core porn parody of “Flash Gordon,” Flesh Gordon (co-directed by Michael Benveniste and Howard Ziehm) was another immediate cult hit, although it’s largely forgotten today. More sophomoric parody than porn, it has period charm as a fan film with Continue reading 1974 EXPLOITATION TRIPLE FEATURE: ANDY WARHOL’S DRACULA, IT’S ALIVE, AND LEGEND OF THE 7 GOLDEN VAMPIRES

1972 EXPLOITATION TRIPLE FEATURE: DRACULA A.D. 1972, VAMPIRE CIRCUS, AND THE THING WITH 2 HEADS

1972  is perhaps the most prolific year in the most prolific decade of horror and exploitation films. It’s also the year for what may be the quintessential midnight cult move: Pink Flamingos, now enshrined as one of the 366 weirdest movies of all time. Blood Freak, which is the first and only “Christian” movie to date about a turkey serial killer, is another Certified Weird 1972 exploitation picture. Competing with Freak fro sheer awfulness was Don Barton’s Zaat (AKA Blood Waters of Dr. Z), which went onto “MST3K” infamy.

In its Blu-ray presentation, ‘s maligned Baron Blood has proven better than its reputation, despite a miscast in the title role. Like most of Bava, it’s stylishly irresistible. The 1972 Amicus omnibuses Asylum and Tales from the Crypt both starred , and were critical and box office successes. Ben, Dr. Phibes Rise Again, and Beware The Blob were all inferior sequels—which is saying a lot in the case of an original monster who was just moving silly putty. tackled the two big undead kahunas (with plenty of added sex) in The Erotic Experiences of Frankenstein and Daughter of Dracula. The Count rose yet again in Count Dracula’s Great Love, starring Paul Naschy. Future King of Cartoons (William Marshall) and director William Crain fused horror with blacksploitation for the first time in Blacula. It was a enough of a box office success to warrant  (superior) sequel in 1973. Unfathomably busy, Cushing and teamed up for ‘ underrated Creeping Flesh, Gene Martin’s cult favorite Horror Express, Peter Sasdy’s misfire Nothing but the Night, and the Hammer opus Dracula AD 1972 (directed by Alan Gibson).

Widely scorned, Dracula A.D. 1972 reunited Cushing’s Van Helsing with Lee’s bloodsucker in a modern setting, even though Dracula himself is confined to a Gothic church. It’s one of ‘s favorite movies. The contemporaneous critical backlash was mostly justified. Lee, probably the best cinematic Count, is reduced to second vampire-in-waiting. But as an artifact of its time, Dracula A.D. 1972 is not entirely without virtue, enough to explain Burton’s affection.

It opens in the previous century with Dracula and Van Helsing locked in mortal combat aboard a stagecoach, which crashes, causing the vampire to be impaled on the spokes of the coach’s wheel. As Dracula attempts to free himself, a battered and bleeding Van Helsing interferes, driving the spokes in deep enough to snuff out the life of his nemesis before dying himself. Witnessing the scene is a Dracula disciple who, of course, leaves with the vampire’s relics (handy for later resurrection). Despite the preposterous   accidental impalement, it’s a red-blooded, Gothic prologue that is followed by 1972’s swinging hippies.

Still from Dracula 1972 ADInitially sounding more like old fuddy-duddy Edward Van Sloan than Peter Cushing, Lorimer Van Helsing, grandson of Abraham, lectures his granddaughter Jessica (Hammer babe Stephanie Beacham) all about the wrong crowd and premarital sex. Pooh-poohing gramps, Jessica heads straight for the wrong crowd, Continue reading 1972 EXPLOITATION TRIPLE FEATURE: DRACULA A.D. 1972, VAMPIRE CIRCUS, AND THE THING WITH 2 HEADS