Poor Billy. Not only does he have a frankly terrifying visit with his grandfather in a mental institution, he then sees his parents slaughtered by a psychopath dressed as Santa who flags them down whilst on their way home.
He is then sent to a Catholic run orphanage where the Mother Superior loves to run proceedings with an iron fist. ‘Spare the rod and spoil the child’.
We then see Billy all grown up and working in a toyshop. But Christmas is on it’s way and Billy has major issues with anyone dressed as Mr Claus and with the holiday season in general after what hes been through.
Billy then goes on a murderous rampage after being made to dress as Santa.
When this film was released in 1984 it outperformed A Nightmare on Elm Street which was released on the same day. However, after a TV spot was shown during a football game, the spaghetti hit the fan. Busybody morality groups aimed to take this ‘blasphemous’ film out of American cinemas. And it worked.
Yes, the film is a sleazy, extreme slice of holiday-based exploitation. But its also very tongue in cheek and possesses a sly humour that any person with an IQ over 25 will pick up on and enjoy. Halloween was never picketed for being a tasteless and corrupting movie that is based on an American holiday.
In fact, the film feels polished and accomplished but still brutal and seems to foreshadow later movies made a couple of years later like Henry: Portrait of a Serial Killer and The Stepfather. Slick, well-made movies that are still not adverse to being extremely graphic when needs be. A hybrid between Hollywood and low-budget grittier filmmaking.
I love the fact that the murders stick to the Christmas motif with seasonal motifs like fairy lights and antlers being used to bump people off.
I watch this every December. But this celluloid delight can be enjoyed at any time of the year. Be thankful that common sense prevailed and this film is still available to the general public.
Yield to the Night finds the character of Mary Price Hilton shoot her boyfriend’s lover and then spending her time in prison awaiting her execution by hanging. Her story is told in flashback during this stay.
On the 7th day God created Diana Dors. From her TV appearances on The Two Ronnies (playing the head of a female army who wish to take over and make all men subservient) through to her appearance in the Adam and the Ants video for Prince Charming, Ms Dors was a regular part of my childhood.
I then discovered the TV series of Queenie’s Castle from the 70’s (filmed here in Leeds) which fully exuded Dors’ abilities as a great actress.
Yield to the Night was the only worthwhile foray into film for Diana with subsequent vehicles being a complete waste of her talents. This film is amazing. The flashback sequences which show how a sultry goddess could be driven to murder are fully rounded, believable and achingly painful. As are the sequences in which she is in captivity. Check out the internal monologues we’re privileged to partake in and how she is far from a blonde bimbo. These observations about her plight and her fate are reminiscent of Travis Bickle’s musings in Taxi Driver.
A strong case is made for the brutality of capital punishment in a ‘civilised’ society and how wrong it is. Thankfully since the film’s release this has now been rectified. You will think of this film when someone comments ‘They should bring back hanging’ in response to a news story.
Due to all of the controversy regarding this film I had to wait until I was living in Australia for a year to see this opus fully uncut. This film still remains cut here in the UK. At the time of the film’s release the BBFC cut over 3 minutes from the film (chief censor James Ferman seemed proud of this and said that it was surely a record) due to two rape scenes contained within the movie.
The vigilante Paul Kersey (played with badass aloofness by Charles Bronson aka ‘The Man’) has moved from New York (the setting of the original movie) and is now practicing his considerable architectural skills in L.A. But after his housekeeper is raped and killed and his already traumatised daughter is subjected to the same treatment Kersey goes back into ass-kicking mode.
There’s so much to love about this film. Firstly there’s Jimmy Page’s sleazy, unsettling soundtrack. It suits the film perfectly. There are sounds, moods and textures heard that make you want to luxuriant in it’s aural squalor whilst also wanting to run to the shower with a bottle of bleach and a wire brush. Yes, it’s THAT good. The soundtrack was actually nominated for a Razzie in the year of it’s release. As was Ennio Morricone’s score for The Thing. I’m part grinning, part grimacing as I write this…
The movie adores Los Angeles and lovingly shows its sun-drenched beauty but also the rotten underbelly of LA by night. The sequences when Kersey rents a dirty motel room, dresses down and prowls the nocturnal streets to find the scum who killed his daughter are some of the best ever captured on film of inner-city horror and urban decay. They also give the city’s amazing freaks, punks and ‘local colour’ centre-stage. These moments are worth the price of admission alone.
Hell, we even get Charles ‘Sheriff Bracken’ Cyphers thrown into the mix.
But the thing I love most about this film is that Winner knew what he was directing. He was making an exploitation film and so the core elements of violence, retribution and gunplay are all exaggerated and amplified. Y’know- EXPLOITATION!
And this is what makes the film so enjoyable- and why Winner was so unfazed by the level of criticism that certain (but not all) critics levelled against the film. He knew that the hacks of the day always (and very predictably) slated films that audiences loved in drive-ins and 42nd Street cinemas. And he didn’t give a toss. He knew what audiences wanted and gave it to them. But rather than creating a rushed piece of crap he crafted a polished film that truly delivered but also had enough room for social commentary.
It’s worth watching the studio debate on the film that was televised before Death Wish 2’s release. Enjoy Michael Winner’s relaxed, considered and educated response to criticism of the film from the hysterical feminist Anna ‘Rabies’ Raeburn and the show’s presenter.
It’s also worth seeking out the TV programme about film violence that Winner took part in with none other than Mary Whitehouse. Yes, the woman who spoke about The Evil Dead as if it was a snuff film EVEN THOUGH SHE HAD NEVER SEEN IT!
This is something that exploitation film fans understand- the actual genre and it’s conventions and tropes. We know that The Evil Dead is the horror equivalent of a dark comedy (in places, anyway) with blood by the gallon load replacing custard pies. We also realise that The Texas Chain Saw Massacre is just as darkly comedic. This is because we’ve actually bothered to watch such films unlike the blinkered, elitist journalists or moral panic perpetuating self-appointed public decency crusaders.
And Michael Winner knew about this genre of films also. Enjoy his expertise.
The sequel to George A Romero’s Night of the Living Dead shows that the zombie epidemic has gotten much worse and society is on it’s knees. Two television workers plan to escape with two SWAT team members in the TV station traffic helicopter in search of…whatever they can find that’s better than their current situation.
There is so much to love about this friggin’ film. The tenement opening scene (the shoulder bite was cut by the BBFC as was the exploding head), the way the film suddenly changes course completely as the four fly off in the helicopter, the scene where they land to fill up the copter with fuel (theres the taboo of zombie kids being shot here. Theres also the amazing scene of the zombie having his head decapitated by the helicopter’s blades) and then we get to THE SHOPPING MALL!!!
The mall is one of the greatest locations ever used in a film. Imagine having this shopping centre at your personal disposal with everything inside being free and your property. I love Romero’s social commentary regarding this. The dream of consumerism quickly rings hollow as do the images being conveyed within the advertising produced before the zombie epidemic. Within the extended cut of Dawn (which is just as good, if not better than the original theatrical cut of the movie) the female character Francine is the only person who wants to leave the mall when the topic comes up of whether to move on or not. The men state that they have everything they need here and so should stay but Francine says that the mall is ‘a rut. A trap’. Ans she’s completely right.
The zombies continue to come to the mall (Stephen mentions that ‘this was a big part of their lives’) which is a brilliantly wry observation by Romero. In this film the living dead have a very aesthetically pleasing blue tinge to their skin. Within the film the blood is redder than red making the film fully realise it’s comic-book vision. But it’s more than this. The film looks like a series of Pop Art paintings come to life. Andy Warhol had plenty to say about consumerism and mass production (his studio was called ‘The Factory’). It’s almost like he was art director on this opus.
But aside from all of the insights and allegories, this film is just great, great fun! The kills are innovative, disgusting and completely brilliant (Tom Savini returns to make-up and special effects duties and this film is probably the best demonstration of his work). Savini also stars as the members of a biker gang who try to take over the mall and seize it from the main four characters.
Wanna see a custard pie fight between bikers and zombies? Wanna see a zombie Hare Krishna, nurse and nun? Wanna see John Amplas (the lead from Romero’s earlier ‘Martin’) as a Pop Art Hispanic dude? It’s all in this film- and much much more.
I also love the character arc for Francine and the bromance between Peter and Roger.
A mysterious radiation thought to have been brought back to Earth after a space probe to Venus is bringing the dead back to life to feast on the living. A young woman named Barbara is visiting her dead father’s grave with her brother Johnny when…
This film has so much of a great reputation amongst horror fans and cinema scholars alike. Does it live up to this?
In a word- YES. Not only does it feel real (it’s based in the America it was made in and looks almost like a documentary) but you get the impression that the events that take place in the course of the film could actually happen. We are witnessing the fabric of society unravelling magnificently due to the disaster which has occurred. Life (and death) will never be the same again after this literally Earth-changing event.
Hitchcock may have ripped up the horror rulebook by disposing of Janet Leigh’s character Marion Crane early on in Psycho when the audience wrongly thought of her as the main female character who would make it to the end of the film. But George A Romero goes one better in Night. Barbara is still in the majority of the film but is so traumatised by her ordeal that she is rendered catatonic for the rest of her tenure. And what a great performance it is- a mental breakdown captured on celluloid, a brilliant portrayal of a response to trauma. Watch the scene where Barbara comes across the music box. It’s one of the most unsettling scenes I’ve ever seen.
Romero also holds a mirror up to societal tensions and conflicts throughout the film. Duane Jones as Ben is the lead of the movie but is also African American- unheard of except when depicted by Sidney Poitier in mainstream Hollywood films that felt groundbreaking and progressive but also marginalised. These films squarely tackled race (and rightly so). But Jones just happens to be black and this is never mentioned in Night. His race isn’t an explicit issue in the film- but maybe directs the actions of other characters (check out the conclusion to Night. There are MANY different readings and interpretations of this. It’s the most shocking ending I have ever seen in a film and just as relevant today as it was back then. I actually get a shiver down my spine just thinking about it and what we see during the end credits of this film).
But there are other societal echoes within Night. Notice how Ben gives his monologue regarding the backstory as to how he ended up at the farmhouse. Jones is truly astonishing especially here. But then watch how he reacts when Barbara tells her story- her account is no less serious or devastating as she’s just seen her brother being knocked unconscious after being attacked by a member of the undead during an event that should have been humdrum and routine. She is termed hysterical by Ben who tells her to calm down. Different oppressed sectors of society with equally disturbing back stories to tell but instead of each being given their time to share their experiences, a member of one group tells the other to effectively shut up. 50 years on, this film is still relevant.
This film also has a lot to say about the family of that time. The traditional family is under attack from the zombies (as Robin Wood expressed using his theory of ‘Return of the Repressed’). The notion of Mom, Dad and 2.4 children (possibly with an apple pie on the table) is no more. The new family in the farmhouse consists of disparate members of society who are forced together to survive against what has gone wrong in the outside world. In fact, in one scene we see Ben actually taking apart the notion of the family and the household from within as he starts taking apart furniture like the kitchen table to barricade the doors and windows with. The scene where the mother is stabbed to death by her daughter who has been bitten by a zombie represents the death of the outdated notion of the family in it’s purest form. The new killing and replacing what and who has gone before.
The first time I saw this film it had actually been colorised but still worked. The thinking behind this colorisation was probably the video company thinking that all horror films made within a certain timeframe were ‘kitsch’, camp and unworthy of serious analysis or enjoyment. I believe the term is ‘so bad it’s good’ (vomit). I remember an advert for a screening of the film on the UK’s Channel 4 that billed the film as a typical 60’s drive-in B movie- cue emphasis on bad acting, rubbish make-up and all round tack. Wrong on EVERY count.
It was a revelation when I first saw the film as it was intended to be seen in black and white. It’s actually a beautiful film with every frame resembling the work of the Nouvelle Vague rather than some Grindhouse fodder made on the cheap to be shown to the stoned.
I saw this film yesterday on the big screen. It was the Criterion 4K restoration and it looked and sounded amazing.
If punk is seen as Year Zero for music then this is Year Zero for horror and one of a whole slew of films that represented a turning point for American film in general.
Fun fact- this is the film on in the background when Harold is having a sandwich made in Halloween 2 (1981).
I love a sequel that not only ups the ante regarding the original film but decides to be as extreme as possible and really ‘go for it’.
In this film theres a new family who move into Amityville. You know that any family that includes Burt Young and Rutanya Alda as members is going to be dysfunctional. And, by Christ, I mean VERY dysfunctional. Any film that deals with incest is going to be special. Theres also a domestic violence subplot which is just as shocking.
Add to that some of the grossest special effects as the teenage son is possessed and transformed into an utter beast of a nightmarish character and you have a great, twisted and truly messed up (in a good way) sequel.
I remember this having one of the most disturbing sleeves of any horror video in my local video stores which instantly made me want to investigate this further.
There is also a scene involving a Sony Walkman which freaked me out so much that it made me question using mine for days after seeing this filth classic.
Katharine Ross plays a woman going to London with her partner (played by Sam Elliott at his homoerotic best) for a job interview.
Whilst riding on a motorbike in the countryside surrounding London they are almost crashed into by a Rolls Royce. The owner apologises and, as their bike has been damaged, they are put up for the weekend at his huge country mansion. But then things start to turn weird. Very weird.
There seems to be a fair few films from the 70’s which prompt me to think ‘What the…’ when I see them. The pinnacle of this sub-genre (lets call it ‘Cocaine was involved’) is The Exorcist 2: The Heretic.
Whilst The Legacy doesn’t reach that film’s dizzying heights of coke-fuelled weirdness (and no other film does), it does still deliver to such as extent that viewers’ eyes will be popping out of their skulls at some scenes. Wanna see Roger Daltry get a trachioctomy on top of a banquet table? Wanna see the guy who played Blofeld (Charles Gray, not Donald Pleasance) being supernaturally burnt to a crisp? Sure you do! And lets not forget the demonically possessed swimming pool and shower.
It will help to be stoned whilst watching this movie. The film will only make perfect sense this way.