Tag Archives: Ray Dennis Steckler

1964 EXLPOITATION TRIPLE FEATURE: THE INCREDIBLY STRANGE CREATURES WHO STOPPED LIVING AND BECAME MIXED-UP ZOMBIES, 2000 MANIACS, AND THE CREEPING TERROR (WITH BONUS: STRAIGHT-JACKET )

1964 was nearly as productive a year for the cinematic horror genre as 1963 was. Coming from the barrel bottom was Jerry Warren’s improvement on 1960’s La Casa del Terror, Face of the Screaming Werewolf, starring (sort of) and Yerye Beirut (who later co-starred with in a string of Mexican films co-produced by ). Chaney was probably less embarrassed (although doubtfully any less sober) working for Hammer director Don Sharp in the relatively well-received Witchcraft. Fellow Hammer veterans Freddie Francis and collaborated on the actor’s only non- directed Frankenstein opus, The Evil of Frankenstein, which initially received poor reviews, but has since been reassessed in a more positive light (in some quarters). Without a star actor (or competent director) Hammer’s The Curse of the Mummy’s Tomb (dirMichael Carreras ) was as limp as its title character. However, the dynamic trio of Cushing, , and did their best work (despite a silly-looking title creature), as usual, for Fisher in The Gorgon. Lee didn’t fair as winningly in the Warren Kiefer/Luciano Ricci co-directed Castle of the Living Dead, despite having closing scenes directed by an uncredited . Lee downsized from a castle to a mere crypt in Crypt of the Vampire (directed by Camilio Mastrocinque), which was as pedestrian as its title, despite undeniable atmosphere. The icon of Italian Gothic cinema, (the last-living of the classic horror stars), was also at home in a castle setting in Castle of Blood (co-directed by and Sergio Corbucci) and teamed again with Magheriti for The Long Hair of Death (which we will be covering soon in a Steele triple feature). The final two Poe films from and , Masque of the Red Death and Tomb of Ligeia, were among their best received, although the latter features yet another ingratiatingly whiny, flowery performance from its star. Rounding out a busy year, Price starred in The Last Man on Earth (co-directed by Ubaldo Ramona and Sidney Salkow), the first of several big screen adaptations of Richard Matheson’s “I am Legend”—none of which, astoundingly, could get it right. Predictably, Blood and Black Lace became yet another cult film from , but even he could not compete with the legendary Kwaidan (directed by Masaki Kobayashi), which puts most Western horror anthologies to shame. Down several notches from those is the work of Del Tenney, who has an inexplicable cult reputation—but as 1964’s The Horrors of Party Beach proves, that status is undeserved for such a dullard (1971’s I Eat Your Skin would further confirm).

Still from The Incredibly Strange Creatures Who Stopped Living and Became Mixed-up Zombies (1964)Spiraling downward, ever downward, we come to ‘s biggest budgeted film, The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies, which is more famous for its title than for the film Continue reading 1964 EXLPOITATION TRIPLE FEATURE: THE INCREDIBLY STRANGE CREATURES WHO STOPPED LIVING AND BECAME MIXED-UP ZOMBIES, 2000 MANIACS, AND THE CREEPING TERROR (WITH BONUS: STRAIGHT-JACKET )

1962 EXLPOITATION TRIPLE FEATURE: MONDO CANE, EEGAH, AND WILD GUITAR

“All the scenes you will see in this film are true and are taken only from life. If often they are shocking, it is only because there are many shocking things in this world.”

Thus, Mondo Cane not only introduced America to the mondo name and genre, it also was the first shockumentary to play in cinemas internationally, unsettling both critics and audiences who had never seen anything like it. It became a grandfather to countless pseudo-sequels and imitations, including the infamous Faces of Death, and for that reason alone Mondo Cane is of historical importance to bizarre cinema aficionados. Although dated and outdone by its successors, Mondo Cane retains its power to provoke—and that is the sole purpose of this film, which further renders it an original in every way.

Still from Mondo Cane (1962)Although Mondo Cane has been accused of having a xenophobic perspective, its hard to make that point when the filmmakers (Paolo Cavara, , and ) consistently contrast primitive and western customs through condescending narration. It’s really a series of mostly unrelated film clips. Food is the theme most explored: from Asians eating dog, to rattle snake entrails in the marketplace, to pigs beaten to death in New Guinea, to civilized diners devouring ants in a posh restaurant.

A scene of a sea turtle slowly dying on a radioactive beach is beautifully harrowing and juxtaposed against the extended, revolting spectacle of a bull goring a man to death. While recommending the film to anyone with suicidal tendencies probably would not be a good idea, Mondo Cane is not without some humor, seen in its pet cemetery vignette, and in the contrast of savage native women being fattened to become the bride of a chieftain with Western women rolling their fat away on the floor. Very well-shot and surprisingly endowed with a sterling score (by Nino Oliviero), Mondo Cane is cinema at its most bi-polar and nihilistic. How nihilistic is it? It’s the only film I know of that will inspire the viewer to pity a man-eating shark.

Eegah often makes top ten worst movies of all time lists for a very good reason: it is one of the most wretched movies imaginable. This is another sadomasochistic endurance test from the Arch Hall Sr./ team, which justifiably landed a showing on . That exposure has made Eegah Hall’s most famous film, such as it is. This low budget effort was clearly trying to ride the teen monster fad that began with I Was a Teenage Werewolf (1957) and, impossible as it may seem, Eegah was actually something of a hit for its producers.

Hall Jr mantles his typical pouty, coiffed protagonist teen persona as Continue reading 1962 EXLPOITATION TRIPLE FEATURE: MONDO CANE, EEGAH, AND WILD GUITAR

RAT PFINK A BOO BOO (1966)

You do not need to consult your doctor: the sound of your jaw hitting the floor while watching Ray Dennis Steckler’s Rat Pfink A Boo Boo (1966) is perfectly natural. Even the title’s origin is enough to numb you, from head to toe, in disbelief. The original title was supposed to be Rat Fink and Boo Boo, but in the editing Fink was misspelled Pfink and somehow the ND from AND was left out. With a threadbare budget the producers could not afford to change it, and the misspelled title stuck.

Director Ray Dennis Steckler claimed that the film was shot on a $20.00 budget and that he made it because of his love for the (dreadful) serial, Batman and Robin (1949). I believe him. Remarkably, this was Steckler’s sixth film. His first was Wild Guitar (1964), which became something of a cult hit despite starring would-be teen idol Arch Hall Jr. (who was cast because daddy produced). For years, The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies (1964) was thought to be more legend than actual film. Sinister Cinema dug up a print and released it, I think, before anyone else did. There went the legend. Unfortunately, it’s a dull unimaginative affair about a psycho, with nary a zombie in sight. The Thrill Killers (1964) starred Steckler himself under his pseudonym Cash Flagg (chosen because he made his checks out to cash!) Again, Steckler seemed to put more effort into a name than he did he actual plot. Steckler was Cash again, this time doing a second-rate imitation of the second-rate Bowery Boy Huntz Hall in The Lemon Grove Kids Meet the Monsters (1965).  Steckler claimed that he made the film as a kind of fan’s valentine to Hall. One must give him some kind of credit for authentic obsession and affection, even if the finished product was nothing more than a series of loosely assembled shorts, with Cash pitted against the Green Grasshopper and The Vampire Lady From Outer Space.

A crazy title is no guarantee of an entertaining flick, but Rat Pfink A Boo Boo obtained its odd moniker unintentionally and, for once, the sheer lunacy of the movie matches the name. Lonnie Lord is a multi million selling rock singer who likes to ply his trade on the street corners (it probably goes down easier if you don’t ask). His girlfriend Cee Bee (Steckler’s wife Carolyn Brandt) is terrorized by the Chain Gang thugs. (Steckler seemed to get a thrill watching Brandt terrorized, because even after the two divorced he continued hiring her to play a perpetual victim).

Still from Rat Pfink a Boo Boo (1966)Midway through, the film switches gear and becomes a comedy with our heroes finally appearing as the title characters. Throwing on ski masks and long johns, they chase the Chain Gang through the neighbors’ backyards (Steckler must have put on a hell of a barbeque). The final, elongated chase scene takes place in the middle of a local Christmas parade, which Steckler and his ragtag team crashed. The cherry on top of the icing on top of the cake comes in the guise of a guy in a gorilla suit showing up for the finale.

Lack of money for a sound team necessitated all the dialogue being added in post-production. Predictably, it doesn’t always sync up and, upon hearing the dialogue, one might question their having gone to the trouble: “We have only one weakness: bullets. Let’s go fight crime.” The sound effects match the absurdity of the slipshod fight scenes. The weirdness level is even more off the meter since Steckler tinted the film, possibly as an homage to silent serials. Rat Pfink A Boo Boo is available in both black and white and the color tinted version, with a blue first half and orange second half. It actually makes the film stranger: impossible, but true.

In a “making of” interview Steckler tells us that if we knew what he and his team had gone through to make the film, we would watch it 100 times. I don’t know if I have enough time in this mortal coil to throw a 100 more weird movie parties, but I will take Steckler at his word and try to make room for Rat Pfink A Boo Boo during the next one.