is practically American cinema’s masochistic patron saint of Juvenile Delinquent exploitation garbage. Guided by daddy Arch Sr. (who penned the script and produced) The Choppers was Junior’s first film in a mercifully brief career (he retired in 1965 to become a musician and aviator—daddy was ex-Air Force).
To most contemporary viewers, Hall, Jr. is possibly best known for his second film, Eegah (1962), after it was featured on Mystery Science Theater 3000—although to the cult crowd, his crowning achievement is 1963’s The Sadist. Both of these will be covered here, along with Wild Guitar (1962), in upcoming exploitation collections from their respective years.
In Leigh Jason’s The Choppers, Hall is cast as Jack “Cruiser“ Bryan, the greasy-haired rockabilly leader of a gang of car-part thievin’ JDs. After stripping down cars, the Choppers take their loot to junkyard dog Moose (Z-movie veteran Bruno VeSota, familiar from Attack of the Giant Leeches, Wasp Woman and Bucket of Blood), who gives them ten cents on every buck!
Working out of their chicken coop truck, the Choppers also siphon gas out of unsuspecting vehicles, with Cruiser taking the role of the lookout guy who taps the steering wheel to the radio music he loves (which, the credits reveal, is Hall’s own song). For most of the film, the Choppers remain one step ahead of bland coppers and insurance suits. Later, we actually get to see Hall strum his guitar and sing “Monkeys in my hat band, I can do a handstand.” The jaw-dropping scene alone makes the entire film worthwhile. With rhyming genius like that, we can totally understand how Cruiser is a chick magnet who attracts a 1959 Playboy centerfold!
The yawn-inducing plot requires a comeuppance, which seems a tad harsh for the Choppers stealing car parts, but the producers probably realized a minute or so of something resembling excitement was necessary.
Mario Bava‘s Hercules In The Haunted World stars with apocalyptic hair. Bava and Lee, together with a bulging pair of male mammary glands in a loincloth (Reg Park), overcome laughably bad dialogue, near-fatal comic relief, echo boxes informing us that “these are gods!”, a prosaic plot, shrill dubbing, a green monster who must have been an ancestor of Sigmund the Sea Monster, and a bulimic budget to produce one of the most psychedelic sword and sandal fantasy flicks of the early 60s.
With painted sets and sky, diaphanous tints, swirling ink vapors, and transcendent camerawork, Bava’s cardboard Hades is the quintessence of orgasmic psychedelia masquerading as Continue reading 1961 EXLPOITATION TRIPLE FEATURE: THE CHOPPERS, HERCULES IN THE HAUNTED WORLD, AND WEREWOLF IN A GIRLS’ DORMITORY