Meathook Cinema Salutes…Jeff Lieberman

Meathook Cinema Salutes…Jeff Lieberman

I first heard of the director Jeff Lieberman when I recalled seeing the artwork for one of his films, Squirm on the video shelves in the 80’s. The sleeve depicting a shower head dripping with worms instead of water with some of them having crawled under the skin of the scared woman in the picture (this shot was actually taken specifically for the video art rather than being a still from the actual film) burrowed (pun not intended) into my brain as it was so eye catching and disturbing to my young eyes.

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It would be several years until I saw the actual film and after I had read further about it in John McCarty’s excellent book The Modern Horror Film. This great book also introduced me to such other horror masterpieces such as Mother’s Day and The Devils.

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Squirm concerns Fly Creek in Georgia where a huge storm has felled electricity wires which causes them to pump huge amounts of voltage into the ground causing the worms within to become carnivorous killers. The morning after Geri, a local of the area goes to pick up her new boyfriend Mick who is visiting her. Fly Creek has a worm farmer (!) and the truck that he uses is the vehicle that Geri uses to pick up her beau. The 100,000 worms that were on the back of the truck all escape meaning that the killer worms (specified as bloodworms natch) are far from being few and far between. The action kicks off (or should that be slithers off) when Mick finds a worm in his egg cream in the local diner.

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Squirm is a fantastic update of the monster movie genre of a few decades before. But Lieberman embues it with a deft and very witty script, idiosyncratic lead and side characters alike and a tongue in cheek sensibility. There are also very perceptive and funny observations of small town life especially when a big city outsider views them with fresh eyes. Much of the film feels like we are seeing these through the eyes of Mick with the locals being either a bit crazy and/or not very friendly.

But this playfulness doesn’t detract from Squirm being a highly effective horror film that has suspense and gore in equal measures. It helps enormously that Rick Baker was assigned the task of the special effects and he doesn’t disappoint.

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Squirm does for worms what Jaws did for sharks. Squirm also unleashes literally shitloads of worms onto the characters to battle against and for the audience’s enjoyment. There are even scenes that show writhing, slithering oceans of worms which take your breath away as to how such a feat was accomplished on screen and the audacity to accomplish such feats. This is also naturally great fun for fans of all things icky horror.

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The film also has a strangely apocalyptic ending that has religious ‘end of days’ connotations and takes the movie to a whole other level rather than just being a throwback to the killer animals genre.

The movie denotes another great addition to Don Scardino’s filmography alongside such other gems as He Knows You’re Alone and Cruising.

Great fun and it’s brilliant to see the original uncut version (the film was cut by distributors to try and get a PG rating) looking and sounding fantastic thanks to Arrow Video.

The next film that I discovered by Lieberman came about in a very strange way. I was getting into Siouxsie and the Banshees and learnt that in 1983 the band temporarily split into two side projects. Siouxsie and drummer Budgie became The Creatures whereas Steven Severin and Robert Smith became The Glove. Smith and Severin named their album Blue Sunshine after the Lieberman film of the same name (I once asked the director if he had heard of this album that was named after one of his films. He replied that indeed he had and even had the album’s artwork framed in his living room).

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Whilst the film was released on video during the heady early days of home video in the UK, it had gone out of print and disappeared completely.

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As luck would have it as soon as I had arrived in London to undertake a film degree, the movie was being shown at the NFT a few days later. I went to see it and was bowled over at how original and brilliant it was.

Blue Sunshine concerns a spate of seemingly random cases of people going on murder sprees after first losing all of their hair. This is linked to a form of LSD they had taken ten years earlier that lies dormant in the system of the person who has ingested it but then turns that person into a bald headed homicidal killer.

Lieberman has a field day with the different circumstances in which the now upstanding pillars of the community suddenly become maniacs. The babysitter scene is worth the price of admission alone as is the scene in which one character undergoes his transformation in a shopping mall disco after first complaining about the music (this would count as a very witty addition to the ‘Disco Sucks’ movement).

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The German VHS sleeve featuring the homicidal babysitter

There is a sense of urgency to proceedings as someone who witnessed the first transformation is actually mistaken as the killer who killed three women by throwing them into a blazing fireplace. Hence, Jerry has to gather evidence in order to clear his name whilst doing all of this on the down low so that he doesn’t get arrested by the police who are looking for him.

Witty but not played for laughs, innovative and horrifying, Blue Sunshine walks a fine line and completely accomplishes what it sets out to convey and does so with verve and panache. I’ve never known a film with the same feel or look as Blue Sunshine which makes me love it even more. It really is a one-off and fantastic because of it.

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Again, it would be quite a while until I could get my mitts on another Lieberman film I had read a lot about but wasn’t available in the UK. It would be whilst I was living in Sydney that I would be able to see the hillbilly/slasher variant Just Before Dawn on vintage VHS.

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The wait was worth it. Just Before Dawn is just as innovative and imaginative as Lieberman’s other films.

The five kids who are venturing up mountain to a house that one of them is inheriting are the complete opposite to many young teens in both slasher movies and within the deranged hillbilly genre. They’re likeable for a start and it feels like they have a purpose rather than just being the kind of vacuous morons who you can’t wait to see get sliced and diced.

Theres also another great twist regarding Just Before Dawn that is so simple that I’m surprised no one else used it earlier. There are in fact two killers who are identical twins and built like Brunswick bricklayers. I love the fact that one of them takes the red hat and vest of Vachel, the first person we see him kill in the film and is seen wearing them throughout the rest of the movie. This reminds me of The Hills Have Eyes with the character of Pluto wearing Bob Carter’s false teeth around his neck after he has been killed. In fact, Lieberman insisted that he had seen neither Hills nor The Texas Chain Saw Massacre prior to making his film.

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Pluto from The Hills Have Eyes sporting Bob Carter’s false teeth
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The killer in Just Before Dawn wearing Vachel’s red hat and vest

Theres a great scene in which two of the kids, Megan and Jonathan go skinny dipping. What they don’t see is that one of the killers has actually entered the water as well. We earlier saw Jonathan going underwater and pulling Megan’s legs which she playfully squealed and screamed at. We then see this happen again but this time Megan looks out to the furthest shore to see Jonathan there who waves back. She then screams and starts to frantically swim to him as she realises that whoever and whatever was tugging at her legs underwater wasn’t her boyfriend. A fantastic scene that is bother very scary and very funny. It’s little touches like this that helps to set Just Before Dawn apart from the majority of uninspired entries within both the slasher movie and demented hillbilly genres.

Vachal’s demise at the hands of one of the killers also goes to show how brutal the movie is. He is stabbed from behind with a machete which exits through his groin.

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Another great thing about the movie is the absolutely gorgeous cinematography. Yes, it’s difficult to make such beautiful surroundings look unimpressive but the scope and vision here is both epic in it’s magnitude to emphasise just how out of their depth the teens are and claustrophobically close when needs be.

Theres also the kick-ass ending which was such a massive surprise when I first saw it that I was astounded by it’s originality and audacity. No, I’m not going to reveal it here.

And so for these three movies, this is why we salute Jeff Lieberman. He made movies that defy expectations, breathed new life into tired old genres where cliches had become de rigour and he granted horror fans with having a modicum of intelligence. Oh, and he still made kick-ass horror films.

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His other movies are also worth investigation such as his movies Remote control, Satan’s Little Helper and the short film he made, The Ringer (which conveniently is on YouTube).

Review- Alice Sweet Alice (1976)

Review- Alice Sweet Alice (1976)

I love the horror films that are unlike any other films in the genre and stand alone with their quirks and idiosyncrasies. One such film is Alice Sweet Alice.

The film was actually called Communion when it premiered at numerous film festivals but was then retitled Alice Sweet Alice when it was picked up by it’s distributor and then released in 1977. With one of it’s stars, Brooks Shields becoming a star in Louis Malle’s Pretty Baby even though she only appears in this film for all of about 10 minutes, it was then released again in 1981 under the name of Holy Terror. The film also received the ultimate seal of approval in the early 80’s when it was banned during the Video Nasty moral panic in the UK.

Not many horror films revolve around the issue of Catholicism but Alice Sweet Alice does and to horrific and chilling effect.

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We see Karen who is preparing for her first communion and her older sister Alice at home. It seems that whatever Alice does Karen whines about to their mother as is the case when Alice puts on her communion veil. This first scene seems to expand into a deeper theme within the film and that is what psychologists talk about regarding family relations when one child is treated as a ‘golden child’ (in this case Karen) and when another is treated as a ‘scapegoat’ for anything wrong that happens or any misdemeanour (Alice). The film expands on this further later in proceedings.

As revenge for Karen being such a brat, Alice lures her to an abandoned warehouse and scares her before locking her in a separate room and then threatening her if she tells anyone.

We see Alice wear a transparent (and very creepy) mask and bright yellow raincoat to scare their housekeeper Mrs Tredoni. Later on during the communion service we see someone wearing the same mask and raincoat bump off Karen by strangling her and then placing her body in a compartment within a bench then placing a lit candle inside for good measure. Could the person who did this be Alice who we had seen wear a similar mask earlier in proceedings?

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The film is very much a whodunnit as to whether it is Alice who is carrying out the murders and also if it isn’t her, then who is it and why?

Alice Sweet Alice is a proto-slasher movie and a fantastic one at that. Not only do we get the storyline regarding whether Alice is the murderer or not but also a brilliant character study regarding this character that goes into family dynamics that have only started to creep into public discussions recently.

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Add to this the very unexpected supporting characters who are as out-there as they are unexpected (check out the character of the bald, fat neighbour Mr Alphonso and you’ll fully understand what I’m talking about) and you have another demonstration of why this film really is a one-off and all the more brilliant because of it.

There are also moments of near hysteria within the narrative that feel like they’re straight out of a John Waters movie. In fact, when I first saw the sequence in which the character of Annie is stabbed I instantly thought of when the shopper has her feet stomped on by Dexter aka The Baltimore Footstomper from Polyester. The acting is unhinged and utterly genius because of it.

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Add to this some very inventive kills (check out the sequence in which Annie is killed in the hallway and when a later victim is thrown from a high building to land on broken mirrors down below) and one of the creepiest killer’s disguises I’ve ever seen (the director was influenced by Don’t Look Now in his choice of the raincoat).

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The look of the film is just as striking with a gorgeous muted colour palate that I’ve never seen in a film before and beautiful photography that means that this is so much more than just your average 70’s horror oddity. In fact it’s just one reason as well as the ones mentioned previously why this film is a complete and utter gem. The way to experience this flick is by going for the US Arrow Video Blu Ray. Their restoration of the film is a revelation and really something to behold.

Grade- B+

Leatherface and Me- Growing Up With (and Without) The Texas Chain Saw Massacre

Leatherface and Me- Growing Up With (and Without) The Texas Chain Saw Massacre

I saw The Texas Chain Saw Massacre at the cinema the other day. It’s been a long road but I feel like I’ve had my own personal journey with this horror masterpiece. After years of not being able to view the film, it grew in my mind to almost mythic proportions. When I finally got to see the film, was it worth the wait and would it live up to the hype?

From the very beginning there was a massive amount of controversy with the film in the UK. On it’s original planned cinema release it was banned outright by the BBFC. However, those were the days when local councils could override the BBFC’s official decisions and so, whilst some local authorities agreed with the Board’s decision, a number decided to allow screenings of the film.

The advent of home video would give the film a new, albeit brief, lease of life. The film was originally released on video in 1981. But in 1984 the Board decided that all videos had to be classified by them and so for three years or so the film could be rented and viewed in the privacy of one’s home. My father actually remembers seeing the film on video, an occasion which I wasn’t privy to. Maybe he had decided to watch it when I was safely tucked up in bed. My Dad’s attitude to me watching horror and violent films from an early age was rather laissez-faire to say the least, but maybe even he thought that the film that had such a shocker of a title would be too much for me to take at such a tender age. When he spoke about it, he did so as if to say, ‘Yes, I saw that film!’ accompanied by a startled look on his face. With such a backhanded compliment I now regard my not being able to watch the film with the rest of my family as akin to some kind of child abuse.

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With the Video Nasties moral panic, TCM was promptly banned. However, the parents of a friend of my older brother owned a local video shop and so, as many video shop owners did back in the day, they didn’t return any of the newly banned videos they were asked to take off their shelves. I got to see The Evil Dead via this route but my friend never showed anyone TCM as she had seen it and was truly traumatised by what she had witnessed. With this knowledge, the legend surrounding the film grew even bigger.

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There was an excellent film in the 80’s called Terror in the Aisles which was a compilation of the juiciest bits of horror movies that were segued by legends Donald Pleasance and Nancy Allen. Within the movie were clips of TCM along with scenes from another withdrawn classic, The Exorcist which meant the Terror in the Aisles was essential viewing. The scene in which Pam stumbles (literally) into the room covered with chicken feathers and adorned with bizarre home furnishings was included and was so perfect that the fact that the full film couldn’t be seen in the UK meant that I hated the BBFC even more than I already did.

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As I then started to get into punk rock I saw a picture of Johnny Rotten wearing the stickers given away to the patrons of the original screenings of TCM that was being shown in London against the BBFC’s wishes. The Sex Pistols had seen the film and were endorsing it on their ripped clothing. It must be something really shocking and I needed to see it, like, NOW!

TCMStickerTCMJohnnyRottenIt wouldn’t be until 1994 when I would finally get to see the film from start to finish. My friend Tom has scored some horror classics that he taped onto two blank video tapes for me with the jewel in the crown being TCM (the others were Last House on the Left, Cannibal Holocaust and Driller Killer). And so that’s how I got to see the film- a copy that had been copied from a copy that had possibly been copied numerous times before with diminishing quality each time. The picture was fuzzy, some facial expressions were a bit hazy and fine detail was very much lacking. But hey, here was the film! And I loved it! But whilst it was and is such an intense and unnerving experience, there was something that I hadn’t been told about and hence wasn’t expecting- the humour. ‘Look what your brother did to the door!’ was one such moment. Another was the moment in which the garage owner takes the time to go back inside to turn the lights of his garage off just after he’s kidnapped Sally after explaining that the cost of electricity these days could send a man out of business.

Something that also caught me off guard but that I loved was how much the film felt like the most surreal and violent EC Comic that just so happened to have been turned into a film. The film was lurid, colourful and surreal.

Skip forward a few years and I’m living in London and have just completed a film degree. The Institute of Contemporary Arts has curated a festival of film screenings in which still banned horror titles could be legally shown for one day each after getting the green light from the BBFC. One of these films was TCM and so I could finally see it on the big screen.

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My original ticket stub for the ICA screening

But it was a wider release shortly after this and without the OK from the Board that would lead to the film being legalised. Just as years before local councils could usurp the Board and show films anyway, Camden Council decided to show the film at a cinema on Shaftesbury Avenue (and rather cheekily just a few streets away from the Board’s Soho HQ). I didn’t know about these screenings until I was walking past the cinema and my eyes jumped out of their sockets as I saw the poster. Camden Council even had their own certificate of ‘C for Camden’ for the film. I had planned an afternoon (and night) of drinking in London’s more salubrious gay bars but waylaid this to take an excursion into Hell first. The screening was amazing and the sound had been turned up to deafening levels. It really did feel like myself and the two other people in the afternoon screening (that’s right, there were only two other people in the whole cinema!) had undertaken a traumatic experience together and as the film ended we all glanced at each other, nervously laughed and then exited.

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My original ticket stub for the 1999 screening

It would be these screenings that would persuade the BBFC to reexamine their classification of the film and agree to pass it uncut with an 18 certificate. Another significant factor in these proceedings was that James Ferman had retired as Head of the Board. It was during his tenure that he had tried to cut the film to finally get it released. But he concluded that there was nothing that could be cut as there was very little gore and such an underlying sense of constant tension to the film that made it impossible to cut. So basically he was ensuring that the film remain banned for being a horror film that was too effective as a horror film. Ridiculous. Thankfully, common sense prevailed and the film was then passed.

The film was duly issued in the UK on both video and DVD by Blue Dolphin in 2000.

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But a funny thing happened just before this release. With the advent of the internet there was a website called Amazon (you may have heard of it) that was based in America where loads of horror movies were available uncut and could be bought and shipped to the UK. This was very much a game of chance with some films being seized by customs and some not. The films that were confiscated bizarrely included some titles that weren’t even banned in the UK at the time. The artwork of other VHS and DVD titles that boasted of their notoriety were being let through (the box artwork for The New York Ripper proudly stated the number of countries the film was banned in but was amazingly let through by customs to the ever grateful horror fan who had ordered it). I ordered the Pioneer DVD of TCM which was chock full of special features such as a director’s commentary and blooper reel and it got through. Yeehaw.

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With such a film as TCM now being available there was only one direction in which the releases from now on could go and that was to restore the film so that it could look and sound as good as possible. But with a film like TCM which has always had a grimy and gritty look to it, would these new restoration programmes mean that the film would loose some of this grit and dirt and look completely different?

Dark Sky picked up the film in the US and cleaned up the visuals and audio significantly for a 2006 DVD release. Suddenly, details that couldn’t be seen before were now visible. It was akin to layers of grime being lifted from a classic painting. There were also oodles of special features and presented in a 2 disc steelbook to boot. And more importantly, the look of the film didn’t suffer one iota because of these new efforts to make the film look and sound as good as it possibly could. The film still sounded like it always had with the bassy and subhuman tremors experienced still present but now sounding even more unearthly. 

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With the advent of Blu ray as a format and then 4K, this meant that even more work could be done on the film and even more care taken to present and preserve the film as the cultural force it had become. Again, Dark Sky took up the task and released a 4 disc Blu ray edition of the film, complete with 7.1 Dolby remix (along with the original mono soundtrack for the purists) and all of the special features imaginable (3 discs worth to be precise!)

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And it was this print that I saw the other day at a cinema that was state of the art and with the biggest screen I’ve ever seen this side of IMAX. It was ironic that I should be watching the film in such a beautiful cinema with gorgeous leather seats and state of the art projection equipment when the film would originally have been seen and experienced in grindhouses and Drive-Ins across America on it’s first run. But did the film still hold up in such surroundings? You bet it did! There was even nuance that could be only be picked up on the mammoth screen and details that could only be heard within the 7.1 remix that couldn’t be picked up in mono (the film gets gradually louder and bassier as the action goes on) with the later part of the film being the hellish (in a great way) experience that all TCM fans know and love. 

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So, as you can see my journey with TCM has been long and winding but so rewarding. The film being banned and then passed uncut and then released on new formats and after extensive work has been done on it has meant that the makers of the film have certainly got their dollars worth from fans like me. But the pleasure of snapping up each new release has been an absolute pleasure and I’m so happy that the film can be appreciated and savoured by future generations. TCM will always be in my list of my Top 10 favourite films. The wait was certainly worth it. 

Review- He Knows You’re Alone (1980)

Review- He Knows You’re Alone (1980)

This 1980 slasher movie concerns a jilted lover who kills his ex prior to her wedding day. He’s now been released from prison and intends on repeating history as he’s after a soon-to-be bride.

The film borrows heavily from Halloween (the piano score, the autumnal street shots etc etc) and even the title card for the movie uses the Friday the 13th font. But for what it is, it’s actually really enjoyable.

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The look of the film captures early 80’s small town America in all it’s soft gaze, wood panelled glory. The kills are actually well executed, inventive (watch out for the fish tank scene) and the killer is very scary indeed. He needs to work on his non-psycho face though as he looks like a serial killer even when he’s just out and about. It’s a bit of a giveaway.

The opening ‘film within a film’ scene is also fun. The kind of self-referential quality that the film possesses could in part be because renowned future film academic Vera Dika worked on the film as script consultant and as part of the editorial department. She would go on to write about the slasher genre and it’s conventions in her book Games of Terror.

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This film will never be a shining beacon of the genre but it’s a great way to pass an hour and a half. It’s also my favourite Tom Hanks movie.

Grade- B

Meathook Cinema Hall of Fame- Visiting Hours (1982)

Meathook Cinema Hall of Fame- Visiting Hours (1982)

Some of my favourite childhood memories involved me being in a local video shop (and there were quite a few in my area) and poring over the lurid and sleazy artwork for the horror movies. In the 80’s video shops were like art galleries for weirdos and I was (and proudly still am) one of these freaks.

One of the video artworks that I was obsessed with was for the Canadian movie Visiting Hours.

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When I rented the movie I wasn’t disappointed.

I love horror movies based in hospitals especially if they’re made in the early 80’s and are really nasty. Another example is of course, Halloween 2 which is a peach of a movie. But Visiting Hours is also a great movie. And the hospital the film is set it in seems to be a hundred times bigger than Haddonfield Memorial Hospital and has more than ten people in the whole establishment (staff included).

Visiting Hours concerns Colt Hawker (no, his character isn’t a gay porn actor even though his name sounds like he should be) who is obsessed with Deborah Ballin, a TV journalist who campaigns for female victims of domestic violence at the hands of their partners. She is shown defending one such woman who was driven to murdering her husband after he had abused her. Hawker is triggered by this because of a childhood memory he has which recalls his mother throwing a pan of boiling oil in his father’s face after he had tried to beat her.

Hawker invades Ballin’s home and sets out to kill her. After a really nasty confrontation Ballin is injured but survives and is taken to the local General Hospital. Colt learns where she is and starts to stalk her.

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What a double bill!

It’s in the hospital that most of the film’s action now takes place. It’s interesting to see that Colt will adapt any variety of aliases and roles to get to his quarry- nurse, orderly, surgeon and finally, patient.

Deborah seems to be so hated by him that even those who sing her praises or sympathise with her now being a victim of male violence become a target for Hawker. Nurse Sheila Monroe becomes one such with Hawker following her home to find out her address and later in the film invading it. Any strong woman is an enemy of Hawker’s and needs to be dealt with accordingly.

Of course, with such a villain and his repugnant views, the film was labelled as ‘misogynistic’ on it’s release. But several things make me think it’s actually a very conservative depiction of the kind of violence some women are subjected to. Yes, we get to see the sheer horror of Hawker and the crimes he carries out against the women he sees as assertive and liberated. But we also have the film’s final act in which the balance is reset and, without giving the ending away, a levelling of the playing fields with an ending that sees Hawker getting the justice he deserves and at the hands of one of the people he wanted to dish it out to. Ballin gets to experience first hand what she’s only ever had to talk about regarding other women’s lives. There is more retribution by female characters in the film but I’m not going to ruin the film with spoilers here.

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Loving this Turkish poster for the film sooo much! A sex scene starring Andrew Stevens whilst Jack Torrence watches outside with a knife. Needless to say, none of this happens in Visiting Hours. But it would make a kickass sequel. It’s not too late.

Also, Visiting Hours doesn’t titillate with it’s depiction of violence against some of the female characters within the film. And that’s a huge reason why I don’t think it’s misogynistic. It feels like the film has serious things to say about violence against women rather than making a trashy and extreme shocker.

Visiting Hours feels utterly serious and is almost devoid of any kind of humour or lighter moments. It’s also nasty and mean spirited in tone. In other words, it’s perfect for an early 80’s slasher movie. Unfortunately, the BBFC didn’t agree and the film suffered several cuts for it’s cinema release. These cuts were sustained for the eventual video release and the film was also (albeit briefly) put on the Video Nasties list.

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The casting of the film is also pinpoint perfect which is a major part as to why the film succeeds so brilliantly. Michael Ironside is just as amazing here as Hawker as he was in Scanners as Daryl Revok. He really was fantastic at playing psychopaths. In fact, when I see Ironside’s name on a cast list I know that it will be well worth a watch. Lee Grant is fantastic as crusading feminist Ballin and Linda Purl hits just the right tone as nurse Munroe. On top of that we get star power through William Shatner being a cast member and we even get to see the guy with the bald head and moustache from Cagney and Lacey.

But the hospital setting is a major part of why this film is so damned effective. Hospitals have always struck me as macabre places and this film feeds into this further. It’s why I love hospitals and this film so much.

Video Nasties Live Debate From 1984

Video Nasties Live Debate From 1984

It used to be really popular in Britain when I was growing up for the hottest topics of the day to be debated and discussed live in a studio with experts on a stage and an audience who would ask questions and contribute. A famous example is the debate regarding certain religious figures calling for the Monty Python movie The Life Of Brian to be banned on the grounds of blasphemy. John Cleese and Michael Palin debated the issue with Roman Catholic journalist and satirist Malcolm Muggeridge and the Bishop of Southwark, Mervyn Stockwood.

A debate that was televised in 1984 regarded the Video Nasties furore and I actually remember watching it at the time! The link is below.

It’s so great to see representatives from both sides of the argument being in the studio and arguing their cases (notice those against the release of horror movies trying to talk over those who wanted them to be released).

I read Martin Barker’s seminal book Video Nasties around this time as I did the publication of Clifford Hill’s flawed study to see just how many kids falsely claimed to have seen the hotly debated cinematic shockers such as The Evil Dead and The Driller Killer.

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A seminal text

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A deeply flawed study

There’s also great footage of a video store of the time, a very funny reenactment of children watching said Video Nasties and some hilariously macabre music to accompany this. This creepy music is even played over the start of the TV debate.

But my favourite line from the whole programme must be MP Graham Bright asserting that these corrupting films not only affect children but also dogs. I do remember my dog at the time being somewhat murderous after we all watched Nightmares In A Damaged Brain for the first time but that might be because we had forgotten to feed her.

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The hysteria of the time must be unbelievable for people to comprehend in 2021 but these horror movies were Public Enemy Number 1 at the time and this moral panic lasted for years. I remember a local newspaper article complaining about the evil effects of horror movies in 1987 which launched an avalanche of angry and disapproving readers letters in the next issue. The editor noted that not one letter standing up for the movies had been received.

And of course the whole furore erupted again in 1993 after James Bulger was abducted and murdered with Child’s Play 3 becoming the 90’s version of The Evil Dead and a target of society’s scorn and bile.

Thankfully common sense prevailed. Or could this hysteria happen again?

This programme is here and my Video Nasties documentary playlist is here.

Robert Smith’s US Tour Shopping List

Robert Smith’s US Tour Shopping List

You’re on tour in the U.S. as the frontperson of one of the biggest bands on the planet. Some people would request a room full of hookers and cocaine. Some would demand that all of the brown M&M’s are removed from the band’s munchies.

Robert Smith of The Cure, on the other hand, is a man after my own heart. He did exactly what I would done. He requested the films that were either banned or unreleased in the UK due to the overzealous and prudent British Board of Film Classification that were freely available to be seen in America.

The following fax was sent by Robert in the 90’s so that someone could obtain these celluloid goodies for him.

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And what a list it is! Cult film fans would swoon at such classics. Not only is Robert a master of pop music but he has a fantastic taste in movies too.

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I remember in one of The Cure’s tour programmes that Robert stated his favourite films as being Taxi Driver, Pink Flamingos, Female Trouble, Polyester and Grey Gardens amongst others.

Robert- I didn’t think I could love you anymore than I already do. I was wrong.

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Meathook Cinema Salutes…Pete Walker

Meathook Cinema Salutes…Pete Walker

History is the ultimate judge of everything and film is no exception. One director whose work history has been very kind to is British director Pete Walker.

Walker was actually the son of music hall star Syd Walker. His first job was as a comedian at a strip joint in Soho (!) He also made 8mm ‘glamour shorts’ before making full length (pun not intended) soft core films at the end of the 60’s with titles like School For Sex, Cool It Carol and Four Dimensions of Greta.

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The 70s-tastic Pete Walker

But it was in the 70’s that Walker turned his attention to exploitation films and primarily the horror genre.

House of Whipcord is one such film and was made in 1974. This is a lurid movie with an equally lurid title. It concerns specially selected women who were judged to be far too liberated and sexually free and are thus thrown into a mysterious correction facility so that they would receive punishment for their wicked ways.

The film exposed the huge gulf within British society at the time- on one side were those who embraced the progressive changes Britain was undergoing regarding women’s changing roles that empowered and liberated them from simply being mothers and housewives. On the other side those who were more traditional and conservative. They were angry at the new permissive society and were the kind of people who wrote venom filled letters to the national newspapers whilst spewing bile behind their net curtains. A figurehead for these people can be seen as Mary Whitehouse and her ‘Caravan of Light’ who campaigned against everything from offensive and ‘corrupting’ films to be banned (Mrs Whitehouse would come into her own in the next decade during the Video Nasties moral panic), television programmes she didn’t approve of (the watershed was introduced because of her campaigning) and even pieces of poetry that didn’t meet her outdated moral standards (the publication Gay News was disbanded after she took them to court over a poem they published regarding Jesus and one of his foot-soldiers).

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House of Whipcord- Within These Walls on steroids

House of Whipcord is a genuinely brilliant piece of exploitation and horror which holds up a mirror up to what was happening in society at the time. Britain was still so repressed that it was easy for mavericks to break boundaries and challenge taboos. In fact, there were those who at this time who were delighting in poking holes in the more archaic elements of society. Punk was just around the corner and tellingly Walker was approached by Malcolm McLaren to make a documentary about The Sex Pistols. This was only cancelled because the band split up before the film could be made.

House of Whipcord is also a fantastic addition to the Women In Prison subgenre. It feels like Within These Walls on steroids. There are also elements of Kafka’s The Trial thrown in for good measure. This is highlighted by the shadowy figure of Judge Bailey who lays down the law within the facility but whose laws are completely unclear. This is an authoritarian nightmare which still feels all too real.

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Special mention needs to go to the cast. Celia Imrie starred in the film at the start of her career and she speaks about the movie at numerous points in her autobiography. She makes it sound like the film was a cinematic shocker that she starred in when she was young and needed the money. However, you get the feeling that she is kind of proud to have been in such a production with it almost attaining a kind of ‘cool’ status.

Barbara Markham is spectacularly unhinged as Head Warden Mrs Wakehurst who turns from measured to biblically psychotic in an instant (witness the sequence in which is lurches at her husband wielding a knife whilst screeching ‘If thine eye offends thee, PLUCK IT OUT!’)

An actress who would be cast by Walker in a total of five of his film and stars here is the magnificent Shelia Keith. Her portrayal of sadistic warden Walker is as cold and brilliantly extreme as Markham’s is. Think of Vinegar Tits from Prisoner Cell Block H but much more extreme.

The next of Walker’s films that stands out for me is Frightmare also from 1974. In 1957 Dorothy Yates and her husband Edmund are convicted of murder and cannibalism (!) and sent to an asylum until the film’s present day (1974). They are then released supposedly fully cured and living a quiet life. But are they? The answer, of course, is of course not! The film shows Dorothy not being cured at all but using the cover of giving tarot readings to people who she then kills and eats.

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‘The cards predict cannibalism. Yes, really…’

The film also deals with Jackie (Edmund’s daughter from a previous marriage) who regularly visits the couple offering gifts of animal brains whilst falsely telling them that they are actually human remains and that she is actually killing people so that her stepmother doesn’t relapse and remains free. It is also revealed that her father had actually faked being complicit in the crimes and feigned madness so that he could stay with his wife. Jackie lives with Debbie, a wayward 15 year old who is the actual daughter of the couple who was placed into an orphanage as a baby just after her parents were institutionalised. She has recently been expelled from there as she is too much for the authorities to deal with and so spends most of her time with her boyfriend who is the leader of a violent biker gang.

Walker’s film goes to the darker places that other horror films of the age wouldn’t have dared to. Frightmare has enough deprived goings on to have even the most jaded of horror fans salivating with glee.

There’s also a playful pop at the more respectable films on release at this time and what Walker thinks of these- Jackie drags her new boyfriend out of a screening of the arty farty Blow Up- and for good reason. Why watch that when you could be watching (or even starring in) a Pete Walker film?

Another facet of Walker’s work that I love is that his films capture the world in which they’re filmed in and feel like beautifully filmed time capsules. The fact that a certain demographic were lapping up films like Walker’s with a healthy section of the cinema-going public loving all things horror and exploitation was also very revealing of the time. The drive-in and 42nd Street audiences weren’t just confined to America during this time.

There’s also a fantastic strain of black humour at play within the film with events sometimes becoming so extreme that they become surreal and darkly funny. This reminds me of the dark comedy that rears it’s head during the endings of both Straw Dogs and Taxi Driver. Within Frightmare, this reads as completely intentional with an almost vaudevillian Grand Guignol tone during certain scenes.

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Again, Keith features and plays the role of the cannibal housewife Dorothy resplendent with pale palour and red eyes. She attacks each character she takes on with such unbridled zest and zeal that that her presence feels an essential part as to why Walker’s films are so noteworthy. Walker talked about working with her saying-

“Sheila Keith was a lady who lived a quiet life with her dogs and her cats and came into work to do, brilliantly, whatever was asked of her. She was like your nice old aunt who would serve you cucumber sandwiches before ripping into a dismembered limb – without complaining.”

I honestly think that Walker and Keith make for one of cinema’s great director/actor partnerships in much the same way De Niro and Scorsese or John Waters and Divine do.

Another Walker favourite of mine is Schizo made in 1976. Figure skater Samantha is just about to get married but we see that a former partner of her mother is travelling to London from the North East to seemingly stalk her.

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The film feels ahead of it’s time as issues that are more widely spoken about now such as stalking, voyeurism and obsessive behaviour directed towards a single person hadn’t been tackled in film before. All of these concepts and dysfunctional attributes would have been new and revelatory to audiences back then in much the same way as those introduced to audiences watching Hitchcock’s Psycho (crossdressing, multiple personalities) or Scorsese’s The King of Comedy (celebrity stalking, obsessive fans) for the first time.

There are also the questions as to who the stalker is, why he’s stalking Samantha and what role she has in all of this. There’s a huge sting in the tale and I’m certainly not going to spoil any of this here.

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More than with any of Walker’s films before or since, Schizo really captures the time and locales it’s set in with London being beautifully captured in the year that, ironically, punk was about to explode. Just as punk marked an explosion not just within music but also other art forms, Walker’s films can be seen as part of that movement.

Walker actually thought there were no subtexts to his films but was pleasantly surprised by what he saw when he reinvestigated his work. He said-

“But recently I had to record commentaries for the DVD releases so I saw the films for the first time since making them, and you know what? They’re not as bad as I thought. But searching for hidden meaning . . . they were just films. All I wanted to do was create a bit of mischief.”

But there is meaning and subtext to be found in all films whether this is intended by the screenwriter and/or director or not. Walker and his screenwriter David McGillivray and their views on the British society of the time are there for all to see and marvel at throughout their work.

Walker’s last film was made in 1983 and was his most polished movie to date, the big budget House of Long Shadows which cast horror royalty Vincent Price, Peter Cushing and Christopher Lee all in the same picture. After this film Walker retired from making films and instead set about restoring old cinemas.

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Boxsets of Walker’s films have been released but curiously, only in the US. It’s time for 4K restorations of his work for Blu ray releases in his home country. It’s time for the outstanding back catalogue of this amazing auteur to be finally recognised and released in the UK. Walker’s work documents a secret history of a time in British cinema that was gritty, forbidden and utterly intoxicating. I think the BFI would be the best company to issue these releases and tout Walker as the major force he truly was within the British film industry even though he may have been frowned upon by others within that industry at the time. And if the BFI do release his films then they should also show a retrospective at the NFT for good measure.

That’s not asking too much, is it?

Meathook Cinema Hall of Fame- The New York Ripper (1982)

Meathook Cinema Hall of Fame- The New York Ripper (1982)

I love any film that is so notorious it generates it’s own urban legend regarding it’s controversial release, whether this account is true or not.

One such film is Lucio Fulci’s 1982 sleazy slasher gorefest, The New York Ripper. Rumour has it that when the UK distributor submitted it to the British Board of Film Classification, the censors were so appalled by what they saw that the print was given a police escort out of the country. The truth of the matter is that chief censor James Ferman (apparently) decided to send the print back to it’s rights owners in Italy to prevent the distributors making copies for video or get local approval for regional cinema screenings. Mr Ferman did this to prevent the distributors being found guilty of obscenity if the matter was taken to court. Ferman is conveniently framed on the BBFC’s website as doing them a favour- whilst effectively making sure that they didn’t get their own way and distributed the film anyway.

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Not many films have become synonymous with epitomising both the 42nd Street and Video Nasties scenes but The New York Ripper does and it does it brilliantly. This is a truly brutal piece of slasher cinema and is so grimy that you feel like you need to take a shower after it.

It starts as it means to go on with an old man playing a game of fetch with his dog. But instead of bringing back the piece of wood thrown for it into a bush on the banks of the Hudson River, the dog brings back a decomposing human hand. The film’s title is even superimposed over this image as if it’s typical of the film’s content. And it is! Fulci is proudly extolling the film’s content and intent.

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It’s discovered that this is a body part of the latest victim of a crazed killer who is stalking and killing prostitutes in the city. The prostitute’s landlady tells the cop on the case that the guy who Anne went to meet bizarrely had the voice of a duck.

Throughout the film we get to see other victims as they are butchered but the actual killer isn’t revealed until the end which in typical Giallo fashion means that this is a whodunnit as well as a horror film. A number of characters are set up as potential suspects for both the police and the audience, particularly the mysterious man who has two fingers missing from his right hand.

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Most of the characters in the film are interesting, quirky, and in some cases, just as sleazy as the film. One such example is that of Jane Lodge. We first see her in the front row of a live sex show theatre in Times Square. She is not only avidly watching the action but also recording the encounter. We find out that she does this for her husband whom she is in an open marriage with. She takes home mementoes from her daily search for sexy trysts for them both to enjoy (she’s clearly living her best life). Whilst front row we see that she is clearly getting off on what she is seeing and is revealed to be dressed for the occasion by wearing suspenders under her fashionable garb of trilby, raincoat and immaculate make-up. We later see her on another sexcapade that takes place in a Hispanic dockside bar that defies belief. Let’s just say it involves toes. She reminds me of an even sleazier version of Angie Dickinson’s bored housewife character from Dressed To Kill.

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Secret double lives seem to be a thing within the film. Williams who is hunting this homicidal Donald Duck is shown in bed with a prostitute he regularly visits. The fact that he’s a cop seemingly doesn’t deter him. Even the doctor whom Williams hires to advise on the case is shown buying a gay porno mag from a street vendor (‘Have a nice evening!’ the vendor says to him with a chuckle).

And then there are the kills. Oh my. The murders are extremely graphic and, in some cases, involve razor blades being used on faces, eyeballs as well as on female anatomy. There are also guttings. A coroner describes one decapitation to Williams in graphic detail and even throws in the word ‘joytrail’ for good measure as to where the killer entered his knife. There’s also a murder that involves a broken bottle being thrust into a woman’s ‘joytrail’ who has just come offstage at the sex show that Jane had a ringside seat for. There is even a POV shot for the bottle.

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The film feels like Fulci wanted to make the ultimate piece of exploitation centred around the Big Apple which in those days was rotten to the core- a crime ridden city where danger lurked on every corner but particularly for women. Think of the opening credits for The Equalizer and you get the idea. Every man is a rapist, mugger or murderer. The backdrops for the kills within the film showcase the different appropriate locales that the city had to offer with the subway, dirty ‘rent by the hour’ motel rooms and even the Staten Island Ferry being utilised. There are also lingering shots of 42nd Street. The Deuce has never been so beautifully captured since Scorsese’s Taxi Driver. It would seem that Fulci’s film is a lower rent, exploitation descendent of that film just as William Lustig’s Maniac and Abel Ferrera’s Driller Killer are.

For such a grimy and sleazy movie, it has been beautifully shot and lit as the new Blue Underground 4K Blu Ray fully shows. This is the best edition to grab if you are new to this masterpiece.

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With The New York Ripper, Fulci set out to outdo himself and make the most sleazy, gory and sensationalistic Grindhouse movie of all time. Boy, did he succeed! The New York Ripper is a perfect storm of 80’s Giallo, 42nd Street and the Video Nasties moral panic. And, it lives up to it’s reputation whilst being a fantastic movie to boot. Whilst Zombi 2 may be a good ‘in’ for those who are new to Fulci, The New York Ripper is a great film to investigate after this. It’s also a great date movie (although that probably says more about me than anything else…)

Meathook Cinema Salutes…Beryl Reid

Meathook Cinema Salutes…Beryl Reid

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I first came across Beryl Reid when I was a child. She starred in the kids programme Get Up and Go and appeared regularly on Blankety Blank. I knew nothing of her penchant for starring in brilliant examples of cult cinema. But as my love of all things cult and horror developed I got to see some of the best examples of her work within these genres.

The first of her cinematic endeavours that I saw was the very risque The Killing of Sister George (1968). This was shown one late night on Tyne Tees Television and as soon as I saw the scene involving George getting into a cab that two nuns were already occupying I knew that this was strange cargo and also quite brilliant.

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One of the earliest British gay-themed films ever made, this tells the tale of June ‘George’ Buckridge, the soon to be eclipsed star on the TV soap opera Applehurst. We see her relationship with the Baby Doll-like Childie and also the interventions of television executive Mrs Crofts. But does Crofts have her own agenda?

This lesbian drama has the amazing tagline ‘The story of three consenting adults in the privacy of their own home’ which obviously mimics the mantra of liberals and homophobes alike regarding ‘the gays’. It’s also a reference to the wording of The Sexual Offences Act of 1967 decriminalising homosexuality.

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There’s something aesthetically pleasing about Beryl Reid in all of the films and TV programmes I’ve seen her in. This film is no exception. She plays George and she dominates proceedings whenever she is on screen. Her character is irreverent, rambunctious and a sheer delight. She’s ‘punk’ years before the punk movement actually erupted. Also, notice how she plays her rebellious character to perfection and got under the skin of George. This is very evident in her body language. No unconscious crossing of the legs or keeping them together when she sits down. She can manspread with the best of them. This is a headstrong woman who lives life on her own terms rather than conforming to societal norms regarding how a ‘lady’ should act.

A primary theme of the film is the power play within the character’s relationships. This is nicely shown in the ‘contrition game’ scene in which rather than being degraded by George’s task, Childie makes herself enjoy it thus taking away the power from George and being in control herself.

The film depicts it’s characters like human beings with all of their foibles rather than as freaks in a sideshow to be leered and grimaced at by ‘them there normal folks’. The film prompts a new discussion on societal perceptions of gay people in a Britain in which homosexuality had just been decriminalised (this was carried out in 1967- the year before this film was released).

The next film of Reid’s that was noteworthy for cult film fans was The Beast in the Cellar (1970).

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Some kind of animal is attacking and killing the military at a nearby army base. A couple of sisters who live in the neighbourhood fear that it’s actually their brother Steven who is locked in the basement of their house who is actually responsible for the attacks. 

This is a fantastic slice of horror by the British studio Tigon who were responsible for so many brilliant exploitation movies of the era. There is a prevailing atmosphere of quiet dread that builds throughout the film with the genteel and quaint lives of the sisters hiding their dreadful secret regarding their brother and his backstory. The film explains this near the end of the movie- Steven was violently maltreated by his father after his shellshocked return from the First World War. When their parents both pass away, the sisters didn’t want their brother to become the vile man that their father became and so to make sure he isn’t called up for the Second World War they hide him in the cellar and keep him drugged (via his water supply) so that he is sedated and controllable. After the physical beatings by his father and after being locked up for so long, Steven has become feral and akin to some kind of wild madman with a hatred for the male members of the military whom he associates with his father. 

There are some very good performances within the film but it’s Reid’s that shines the brightest and makes the film truly special. As Ellie, the sister who seemingly hasn’t progressed from when she was a child, she sinks into the character eerily well. From the scenes in which she reminisces about her father and the details regarding her family, it feels like you are watching a child instead of an adult. This works very well as it elicit’s a warmth from the audience regarding the character with a sense that the sisters carried out an extraordinary act in exceptional circumstances.

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Theres also the theme of a dark family secret being hidden from view by the facade of the two ‘respectable’ spinster sisters that the film explores well. You’d never guess by the appearance of the women that they committed such a terrible thing to their brother. 

These ingredients make for a very enjoyable film indeed.

The most far-out and trippy of Mr Reid’s excursions into all things cult was Psychomania from 1973. In this film she plays Mrs Latham, the seance holding mother of the leader of a biker gang called The Living Dead(!) She holds the secret to how people can come back to life after they have willingly killed themselves and tells her son how to accomplish this which he does. He then passes on this knowledge to the other members of his gang who one-by-one take their own lives so they can come back and live forever. 

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This film can be seen to capitalise on several different film genres that were popular at the time- horror films, biker movies and also the kind of unreal entertainment for stoners to watch whilst they were off their bonces. This film can also be seen as genuinely countercultural. 

There are many nods to an anti-authority sensibility within Psychomania with a scene in which the gang members are helped to escape from cells in which they are being held. The concept of ‘normality’ and the whole notion of domesticity also come in for a battering within the film. There are sequences in which we see the bikers terrorising locals in what looks like a New Town concrete open-air shopping centre. There is even a scene in which they ride through a supermarket whilst gleefully trashing it and running over shoppers.

And this is another reason why it was truly brave for a star like Reid to choose to star in such fare. Whilst other esteemed actors would only have starred in such a film if their career was on the skids, Reid didn’t look down her nose at this type of entertainment. Indeed, she accepted roles in these kind of films and performed them with such zeal that it’s obvious she loved these quirky additions to her filmography. This reminds me of other actors who did this like Vincent Price and Donald Pleasance. 

PsychomaniaReidandHensonHistory judges all art and history has judged this film very well indeed. Even the BFI issued it on Blu ray a few years ago which just goes to show how cherished it is in terms of British cinema. It’s ironic that such an outsider piece of popular culture should now be embraced by the cultural elite. But don’t let that put you off. 

A fantastic time capsule of a movie with beautiful cinematography and is a daring depiction of a grisly topic (suicide) that is handled both darkly and humourously. Oh, and it has a soundtrack to die for. 

These are just a few of the brilliantly entries in Beryl Reid’s oeuvre. And there are plenty of others with her starring in a film adaptation of Joe Orton’s Entertaining Mr Sloane, her recording of an album of music hall songs (really) and, of course, Get Up and Go which featured a cat from the moon. And that’s why we salute her brilliance.