I first learnt of this film as it was called The Day After Halloween and marketed as a sequel to John Carpenter’s classic. It isn’t. But it’s still a really interesting movie.
Angela (played by Prisoner Cell Block H’s brilliant Sigrid Thornton) is persuaded to ditch her low paid hairdressing job and enter the world of modelling. Nude modelling.
This could have been a generic ‘nice girl gets led astray’ film but it isn’t. Theres too many genuinely unexpected twists and turns for it to be predictable. An example- Angela is stalked throughout the film by her creepy ex-boyfriend- who just so happens to drive a pink ice-cream van!
There’s an air of unease and menace that runs through the whole film that gives it a truly unsettling feel.
Watch out for the ending- it’s very unsettling indeed.
When you recognise a murder weapon which could implicate a hacksaw wielding murderer who’s already killed two other people, what do you do? You go to stay in a remote secluded clifftop villa with your friends, that’s what! Nothing could go wrong…
This is a fantastic slice of giallo directed by Sergio Martino in 1973. It’s all here- the sumptuous locales, the amazing insistent music score, the deft and stylish cinematography and direction. But, best of all, there’s one of the most disturbing and iconic killers in giallo history (which is really saying something). And not only does he look great but he also kicks ass.
This film expertly builds tension with some scenes reminding me of the later Halloween. I wonder if Carpenter had seen this film before making the 1978 classic. I sure as hell hope the makers of the new Halloween film have seen this film (I bet I know the answer to that question but I’ll wait until this film is released to either have my hunch confirmed or refuted).
An example of this tension within Torso would be the scene in which the lone survivor is in the villa with the killer thinking that there’s no one else there. She’s locked in her room but decides to try to get the key which is still in the lock on the outside of the door to fall onto a sheet of newspaper which she’s slid underneath. This way she can slide the key under the door and try and free herself. But then…you’ll have to watch the film to find out what happens. It’s a great scene in a great film.
When it comes to giallo everyone seems to know the work of Dario Argento, Lucio Fulci and Mario Bava and for good reason. But Sergio Martino is an example of another giallo director who doesn’t get the attention he deserves. This is a shame as his work is stellar. And Torso is a great ‘in’ for the horror fan wanting to investigate his work.
I was looking forward to this movie. Someone who had seen it in the States said that it was ‘grim’. Another said that it ‘stayed with you long after you’ve finished watching it’.
Having watched the movie I can now say that it is grim. But not in a good way. It’s the most pretensious, overly dramatic and ultimately vapid film I think I’ve ever seen.
In fact it reminds me of when I was at university studying film analysis. There was a drama department within the arts faculty. You just knew that the small minority of quiet and introspective drama students would go far whilst you got the feeling that those who were loud, strutting and attention seeking weren’t interested in acting at all but only in being centre stage. At the end of the year the drama students had to write and stage their own production which they would also act in.
Hereditary felt like the kind of end of year production that one of the extroverted dramatists would have produced if it had then been picked up by a film production company and allowed to pollute cinema screens worldwide. Hysterics are ramped up to the max whilst tension and depth, y’know the things that good horror should hinge on are nowhere to be seen. In fact, the only tension I experienced were by a couple near me who insisted on talking during the film. And they left halfway through. I was gutted and felt like running after them to try to persuade them to come back in.
With Hereditary the film also seems to throw so many ideas into the pot that it really is a case of ‘Let’s throw all these ideas at the wall. Some are bound to stick!’ It didn’t work. In this age of remakes, sequels and reboots, especially within the horror genre, original and new ideas are paramount. It can still be done. Some critics and reviewers think this film might be the start of such a renaissance. It isn’t and I pity them.
I’m now going to watch Muriel’s Wedding- a genuine masterpiece that doesn’t squander Toni Collette’s considerable acting chops.
Hereditary is loud, hysterical, hyperactive and desperate for your attention. It’s clearly the James Corden of horror films.
Harry is on his way to a country holiday home with his new ex-model girlfriend, Diane when they cross paths with a rowdy car-full of drunken yahoos who try to intimidate them. After the couple run them off the road and ruin the suspension on their car, they are tracked to their country lair with the angry men proceeding to invade this picuresque idyll.
Violence and rape ensues as the hillbilly gang seek revenge. In the course of events Harry is actually killed and Diane is raped when trying to escape. But then Diane turns the tables single-handedly and in brutal fashion.
They are elements of both Last House on the Left and Straw Dogs within this film’s premise (in the UK, this film played as part of a double bill with the latter film) but theres also enough to distinguish Death Weekend from these two films. Theres a strong feeling of the ‘haves vs have nots’ thats interesting. The hillbilly gang see what they don’t have within the house and their lives and instinctively seek to destroy and tarnish it.
Also, this isn’t a case of the good vs the bad- when Diane arrives at the house by the lake she very quickly realises that Harry is a slimeball personified. Hes a swinger who has invited Diane to the house for one reason and that isn’t holding hands and going for long walks. We see him taking pictures of Diane as she gets undressed and showers as the mirrors in the swingers paradise masquerading as a country house are all two-way. Diane finds out this later when one of the gang stumbles upon the pictures that the pervert Harry has taken unbeknownst to her.
Also, just before the gang invades the house Diane is just about to leave as she learns that although Harry had told her that there were other guests who would be joining them, in fact this was a lie. Harry appears to be just as repellent as the gang members who are just about to kick the door in- its just his social class that separates him from them.
This film is also made noteworthy by the cast with Brenda Vacarro and Don Stroud deserving special mention.
A very good film that deserves a really good Blu ray release. In fact, this would be ideal for Scream Factory.
I’ve been digging through copies of my local newspaper The Yorkshire Evening Post and have exhumed some amazing ads for some of the exploitation films that perverts like me love so dearly.
One series of movies that played well in Leeds was Friday the 13th. And the newspaper ads certainly don’t disappoint.
When Friday the 13th played Leeds in 1980 the other films that were playing the same cinema were Don’t Answer The Phone and Airplane. How fucking cool was that!
When Friday the 13th Part 2 played in Leeds it was paired with Prophecy as the second film. Other films showing at the same cinema were Excalibur, a special preview of a new film called Raiders of the Lost Ark (I think that film sank without a trace as I’ve never heard of it) and a double bill of The Gauntlet and Taxi Driver. I would have gladly gone to see ALL of those films.
1982 brought Jason in 3D to the city of Leeds. Other films showing at the same cinema then were 10 To Midnight, The Exterminator, American Gigolo and Mad Max 2. Again- I’d emerge from this cinema roughly 12 hours after stepping foot in the place. All great films.
1984 brought Part 4: The Final Chapter (the best and most brutal Friday the 13th film in my opinion). It also played in a double bill with Nightmares with Indiana Jones and the Temple of Doom, Supergirl and Losin’ It playing on different screens. Can you imagine seeing the Final Chapter and Supergirl on the same day?! Sweet dreams are made of this.
A movie that goes one way but changes direction massively.
In fact before the plot twist that occurs I thought this was a film about the most unlikable and privileged kids I’d ever seen on screen. In fact they’re so privileged that when they got to college they would be the biggest social justice warriors, I thought as I drifted away from the dull film.
In fact the only tension or frisson in the first half hour was more centred around the couple next to me who kept talking throughout the film. They stopped after I suddenly shrieked ‘For fucks sake! Shut the fuck up!’
But then the film has a huge volte face regarding its plot and it touches upon something that is still taboo in real life and on film- killers who are children. In fact, as soon as the film started to touch upon this film I instantly thought of the case of James Bulger. I was genuinely shocked to see the use of a can of paint in the film. Anyone who knows about the proceedings of Bulger’s death will know that paint figures predominantly. Was this coincidental or intentional?
The film could have now developed into something much darker, brutal and savage. It doesn’t exploit this brilliant plot twist and is a bit too obsessed with gloss rather than grit. The last 15 minutes are extremely contrived and more Hollywood than horrorshow. This is a shame. The very end of the film is funny but this should have been a vivid display of gallows humour rather than a jokey conclusion to a good but not great movie.
A wasted opportunity. But not a failure- in this era of reboots and reboots (the curse of modern film), any trace of originality and innovation should be cherished.
If you want to see a much better ‘killer kids’ film watch Bloody Birthday. The best Christmas horror films are still Black Christmas, Silent Night, Deadly Night and Christmas Evil. If you want to watch a movie about vapid, overprivileged kids, you’re asking the wrong person.