Layabout crazy cat Jerry (played by the director Ray Dennis Steckler under the hilarious pseudonym Cash Flagg), his girlfriend Angela and his friend Harold go to the seaside to visit a carnival there. After getting their fortunes told they see the fortune tellers sister Carmelita who is a stripper. Jerry is seen by Angela to be staring a bit too intently at Carmelita and so leaves in a huff with Harold. With them gone Jerry decides to go and watch Carmelita’s strip show (the carnival has it’s own nightclub that holds such entertainment. The name of this establishment is, wait for it, The Hungry Mouth which rivals only The Flaming Cave Lounge from John Waters’ Female Trouble in terms of a brilliant name for an establishment of that kind).
Jerry is then lured to Carmelita’s dressing room where he is hypnotised. This then turns Jerry into a ruthless killer of which afterwards he has no memory of. He had in fact killed two characters whilst he was in his murderous trance-like state. He also tries to throttle Angela to death the next day.
Carmelita’s plot is then revealed. She has been throwing acid into people’s faces which turns them into zombies (!) and then keeping them captive.
But Jerry then decides to confront Carmelita as he keeps having flashbacks and knows that something isn’t quite right ever since he visited Carmelita at the carnival. This all builds to a very eventful climax.
This is pure Drive-In B movie goodness. Theres so much to like here. The hypnosis scenes, the hallucinatory dream sequence Jerry has, the zombies, the song and dance sequences at the nightclub (one of the girls can be seen chewing gum as she performs her dance moves. Now that’s attention to detail and classy to boot!).
The film also has a colour palate which can make your eyes water. I had several acid flashbacks whilst watching this gem.
I first found out about this film from reading the cult film bible Incredibly Strange films from Re:Search publishing at the tender age of 14. This book treats Steckler as some kind of god in much the same way more pedestrian film fans look up to John Ford. And they’re right. Steckler is an Orson Welles for the perverse.
Duane books into the sleazy flophouse Hotel Broslin with a large basket. It’s contents consist of his deformed twin brother who he used to be conjoined with. Both Duane and his twin are hellbent on enacting revenge on the surgeons who separated them against their wishes.
Basket Case will always occupy a special place in my dark little heart. When my family first bought a VCR in 1982 we rented two films. One was the cartoon of Captain America from the 60’s. This choice was intended for 8 year old me. And whilst Cap is very cool, it was the other film that intrigued me.
It was rented to be viewed by the rest of my family when I had gone to bed. It was Basket Case. The forbidden always seemed more alluring to me. And after much pouting and pleading I was allowed to watch the film. It was an amazing night of mind-expanding and gleefully deprived family viewing.
The film hits every bullseye it aims for. Theres humour (check out feeding time for the basket’s resident), gore (each attack is bloody as hell and very inventive) and well rounded characters whether they’re the main players or the supporting cast. In fact a film could be made based on any of the film’s characters and it would rock.
Whilst the film does contain very black humour this doesn’t dilute the horror sequences which pack a real punch still. In fact, Basket Case has an air of sleaze, filth and edginess that reminds me of another masterpiece, Bloodsucking Freaks. Both films capture a time when 42nd Street and The Deuce reigned supreme. Basket Case even takes us into one of the grindhouse cinemas. We even get a cameo by Sonny Chiba!
Basket Case is The Evil Dead’s low budget filmmaking genius with John Waters’ writing brilliance. I can’t think of any higher recommendation to a fellow lover of warped cinema brilliance than that.
a) A beautifully acted, nuanced and sensitive portrayal of the horror of the Nazis and those unlucky enough to have crossed paths with them?
or b) A badly acted slice of exploitation resplendent with terrible dubbing and almost no budget?
I’ll give you a clue- look at the film’s name! This is also known as The Beast in Heat (it’s on the UK Video Nasties list under that title) and Gestapo’s Last Orgy.
I’d love to give you a summary of the plot but I don’t want to be banned from this platform.
Be sure to run a bath before watching this. You’ll need it.
But when you know exactly what you’re letting yourself in for this movie ticks all of the depraved boxes regarding lurid and boundary pushing schlock filmmaking. Imagine watching this back in the day on 42nd Street or on VHS in the early 80’s in the UK. Your mind would have been well and truly blown.
And by a weird turn of fate it’s uncut on YouTube! Enjoy (if thats the word).
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.
My local cinema, The Hyde Park Picturehouse here in Leeds regularly shows cult films. I was looking forward to seeing The Room as it had regularly played at a lot of the cult film cinemas like The Prince Charles Cinema and so I thought it must be some kind of newly discovered classic.
The screening I went to was almost sold out. I noticed that the rest of the audience were at least 20 years younger than me. Millennials. Not a good sign. I wondered if they could stay off social media on their mobile phones for the duration of the movie. Or if the concession stand would double up as a safe space for the evening.
And then it started.
Lets get the film’s plot out of the way first. Man is engaged to woman. Woman finds man boring and sleeps with his best friend. Fiancee confides to her mother that she doesn’t want to marry man. Woman tells friends that hubby-to-be got drunk and beat her. This continues until the end of the film where at the man’s birthday party he finds out about the affair and later blows his brains out.
The Room is a movie that shouldn’t be getting any attention of ANY kind. It makes your average straight to video film feel inspired. Is it a cult because of the depths the film plummets in terms of acting? Is it the wafer-thin plot that is almost non-existant? The cheap production standards? No- The Room doesn’t deserve any attention because its what a cult film should never be. Its boring.
Anyway- back to the cinema that I’m watching the movie in. The audience then starts to indulge in something that I think should be heavily penalised in a cinema. I feel like gagging just typing these two words- audience participation. This is the reason why I don’t go to see one of my favourite films, The Rocky Horror Picture Show when its showing on the big screen. Don’t get me wrong- I love the fact that a heterosexual man finds a legitimate reason to wear suspenders and heels in public rather than just in private. But when assholes in the audience start shouting lines at the screen and stand up to do dance moves so you can’t even see the friggin’ film then I start to get all punchy.
And this is what happened with The Room- attention whore audience members trying to outdo each other by shouting out lines, laughing at moments that weren’t funny either intentionally or unintentionally (not that you could tell a lot of the time as you couldn’t hear over the noise being made) and throwing plastic spoons at the screen (just don’t ask). It was all so contrived- ‘I read on Facebook that you do that kind of thing at this movie!’ Then in that case have a screening for your friends in your halls of residence TV room. Imagine the poor cinema usher having to pick up all of the plastic spoons that some privileged student arsewipes threw at the screen- and all in the name of mediocre cinema supported by those trying to be ‘ironic’ *gag*.
I have no problem with audience participation for some cult movies- as long as the cinema warns people beforehand that this is going to happen. This could be a trigger warning for non-millennials and people who just actually want to sit through the movie and be able to fucking hear it.
I think there should also be some screenings of films that have a tradition of ghastly audience participation where this kind of behaviour isn’t permitted. These screenings should be clearly advertised in advance. Cinema ushers should patrol the aisles with electric cattle prods or tasers so that one whiff of a plastic spoon and the perpetrator could be zapped and then ejected (into the care of the local police who would charge them with disorderly conduct no less).
Going to see a film doesn’t always have to be a case of buy your ticket, buy your snacks, find a seat, watch the film. It can also be a feat of showmanship where the fun isn’t confined to what goes on just on the screen. Think of William Castle and the genius gimmicks he used to to elevate an already brilliant film into a unique experience. John Waters was a Castle fan and used a gimmick himself- the Odorama card for his masterpiece Polyester. A number would appear on the screen in a certain scene and you’d scratch off the number on the Odorama scratch n sniff card you got when buying your ticket. Number 2 was exactly that- shit! This kind of showmanship was inspired, in most cases wasn’t done to detract from a dud of a film and the director was still calling the shots rather than some douchbag audience members trying to steal the limelight.
But whilst I love cult cinema and midnight movies, many of the legitimate examples of this genre have a quality in common that The Room will never possess- in many cases they’re brilliant movies that really are worthy of adoration by those touched by their genius.
The people who go to screenings of The Room and profess to be fans of the film are adherers to the adage that some films are ‘so bad they’re good’. I’ve written about that HERE. Why celebrate bad cinema? A cult film should be so good, its brilliant and so you feel the need to tell all and sundry about why thats so.
A couple of years ago the same cinema showed Pink Flamingos. The audience were the same as any other going to see a cult film at The Hyde Park Picturehouse- keen cineasts who know about the film being shown, fans of the film already but also that strong minority (usually students) who have heard about Pink Flamingos being a ‘cult’ film so it must be ‘really bad, right?!’ I’m a huge John Waters fan and was ready to stab anyone who dared to laugh at the film instead of with it. And you know what? There was not one titter, guffaw or groan at the film’s expense from the peanut gallery. The audience was united in being won over by this cinematice masterpiece. They laughed at all the right places and gagged at the appropriate scenes of filth too. The power of Pink Flamingos- it was shocking in the 70s and if anything, in these times of the youngsters of today being offended by everything and being of an ultra-sensitive disposition, its even more shocking. But its also riproariously funny- a quality which has converted even the most staunch cinema snob to Waters’ genius. ‘Jesus! That was actually brilliant!’ said one student to her friend on leaving the screening. Praise indeed.
Please don’t resurrect any old piece of mediocre crap resplendent with bad acting and no plot and elevate it to cult status. Theres enough beige fare in popular culture as it is.
If you’re a fan of The Room you need to see more cult films- and good ones. If you’re a fan and go to screenings, throw plastic spoons at the screen, shout ‘Meanwhile, in San Francisco’ and try to dazzle fellow audience members with your wit, you’re a fucking tool.
The Room- 1 star out of 5- because its something any film should never be- fucking boring.
A gorgeous slice of Ozploitation that is extremely well made, acted and written. A young man named Patrick is in a coma after killing his parents three years earlier. A new nurse named Kathie has been assigned to tend to him and they strike up a relationship through a typewriter that Patrick can telekinetically control and through the only bodily function that Patrick can control- his ability to spit (one for yes, two for no). Strange things start to happen in Kathie’s life regarding the husband shes recently separated from and the doctor shes just started seeing. Could Patrick be responsible?
I love a movie in which the lead character is in a coma but strangely gives a great performance in that state. In fact all of the cast are great and if you’re a fan of Australian TV then you should be able to recognise most of the actors. I recognised the actors who played Captain Barton the Salvo Army man, Evelyn Randell and Irene Zervos from Prisoner Cell Block H.
The setting of the sinister hospital wouldn’t be out of place in an early Cronenberg film. The building seems to constitute another character in this film and a very foreboding one.
This is a favourite film of Quentin Tarantino, fact fans.
I first heard of Phantasm when its sequel came out. Barry Norman reviewed it and admitted that he hadn’t even heard of the first film. Neither had I.
Fortunately my sister in law had a friend who had closed down their video business and so gave her a lot of the videos he used to rent out. She lent me two films that could be classed as life-changing. One was The Rocky Horror Picture Show. The other was Phantasm.
The film starts off like standard horror fare- sinister goings on at a small town American mortuary. But then the film starts to get more and more surreal. Its like a lot of the film inhabits a dark dream-like world.
Check out the scene where the lead character goes to see a local seer. Add to that the chase scene in which Michael chops off The Tall Man’s fingers and takes one home. This film is most famous for the flying silver spheres within the funeral home. These spheres certainly don’t disappoint.
And then theres the soundtrack which fluctuates between gritty analogue synths of doom and funereal organs. I found the soundtrack on CD and within the sale section of a local and long gone record store.
One of the best purchases I’ve ever parted money for.
Angus Scrimm as The Tall Man deserves recognition as one of the scariest and most sinister baddies of all time. Hes unrelenting, otherworldly and the inhabitant of many viewers nightmares.
Back in the day this film was shown not just individually but also as a double bill with John Carpenter’s The Fog. Two amazing kick-ass horror films right there.
This film was remastered and released at cinemas across America last year. And it deserved the 4K treatment.
File this film under ‘underrated’. Also file it under ‘masterpiece’.