The head of a theatre troupe Alan (think of a cross between Charles Manson and Timothy Claypole in lurid and very colourful 60’s clothing) takes his fellow thespians (who he refers to as his ‘children’) to an island which is used as a kind of graveyard for dead criminals. He then assumes the role of a religious leader, puts on robe he just happens to have brought with him and proceeds to try and raise the dead using his knowledge of magic. Whilst this (seemingly) doesn’t work they dig up the dead body of a man called Orville. However later on in the film the dead do indeed rise again and get their revenge. They board the actor’s boat at the end of the film.
The director of this film is listed as Benjamin Clark but is in fact Bob Clark who went on to make the masterpieces Dead of Night and Black Christmas. Allan Ormsby who plays Alan went on to direct the excellent Ed Gein biopic Deranged.
This film has an interesting vibe to it that is similar to the counterculture early 70’s vibe of Wes Craven’s Last House on the Left (but without the violence or genuine transgression). This is gritty low budget filmmaking that points to the drive-in but also to the arthouse realm.
The colour palette of the cast’s wardrobe is like watching an acid trip with each character wearing a different very bright colour and when more than one cast member is in the frame together it’s a trip. In fact theres a shot in the movie of the cast members all lines up behind each other and it’s like a spectrum of colour. The audience members on certain substances must have loved this sequence.
This is an interesting film but far from being some kind of 60’s classic. The title is very misleading also.
A pastor goes to Nigeria and accidentally unleashes an ancient malevolent spirit. Oops. His daughter-in-law back in America then starts to change from being a God-fearing, wholesome wife to becoming a possessed randy harlot.
This film is such good fun. The pastor is played by William Marshall who was already known to Blaxploitation audiences as Blacula. Austin Stoker also stars who would later feature in John Carpenter’s masterpiece Assault on Precinct 13 a couple of years later. But it’s Carol Speed as Abby who steals the show. She seems to truly relish her role and brings some much needed spice and vigour to it.
There’s groovy interiors, snappy dialogue and effects that look cheap and nasty even by Exorcist rip-off standards. In fact they make Beyond The Door’s FX look highly innovative by comparison. But that’s all part of the fun.
I love the fact that the exorcism at the film’s conclusion takes place in a downtown bar.
This film made loads of money at the box office but was abruptly taken out of circulation when Warner Bros. issued a lawsuit as they stated that the film ripped-off The Exorcist a bit too much. Abby’s director William Girdler never denied this. The only existing prints are in very bad condition and it’s rumoured that a decent print hasn’t surfaced yet as possibly the lawsuit is still in place which prevents a decent DVD/Blu ray release. It’s also rumoured that the lawsuit also involved all copies of the print to be confiscated by Warner Bros. so that they could destroy it.
I hope this isn’t true. I’d love this film to be released after being restored. In fact, I’d love a Blu ray box set containing all of Girdler’s films. He deserves to be recognised as one of the leading auteurs of brilliant exploitation films.
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.
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.
Three schoolteachers stop at a garage on their way to a baseball game at Dodgers Stadium. Their car isn’t running properly and so they need to look at it and maybe try to fix it. But thats not their biggest obstacle- they come face to face with Charlie Tibbs and his girlfriend- a couple of killers who are accused of murders in Arizona and are on the run. Charlie has a gun and insists that they work on the car so that he can get away in it.
This film is like a play that has been filmed- there is primarily one main setting (the film reminded me of Cujo in that respect). But this doesn’t mean that the film is static and boring. The one setting is used innovatively and this means that the film is directed with verve. There is also a sense of ‘us versus them’ with the schoolteachers in their Sunday best (shirts, ties or a nice conservative dress) whilst Tibbs is looking every part the juvenile delinquent in his denims and sporting a greasy quiff. Tibbs is obviously based on real-life serial killer Charles Starkweather.
This film is brilliant- will the teachers get away, when and how? The film ramps up the tension and suspense and never lags- theres no scenes that feel unnecessary. The film is also very extreme for its time. It was even rejected by the BBFC when it was submitted for classification in 1964.
Arch Hall Jr in the lead gives an extraordinary performance as Tibbs- the Sadist in the title. His face and facial expressions are almost other-worldly and supernatural as is his portrayal. Quite extraordinary.
Watch out for the poignant scene in which the schoolteachers hear on the radio the baseball game they should be at instead of fighting for their lives.
Theres also some innovative direction within the film- it almost feels like Tibbs’ gun in the first half of the film is an actual character.
I didn’t know about this film until recently. I’m glad I do now. Why isn’t this more widely available on DVD and Blu ray?
Apparently this film is a favourite of director Joe Dante’s- a seal of approval anyone would be proud of.
I’ll always have a soft spot for this movie. An obscure horror film made in America in the 70s and set in a drive in. Whats not to like?
Could it be the mentally challenged employee there called Germy who could be the killer? Or the local sex pest we see the cops interview? (‘I didn’t do anything wrong! I was just at the drive in to beat my meat!’)
Yes, its slow in places, yes there are obvious filler scenes to pad out the running time. But its full of character and is pretty scary.
I first saw this on VHS and then DVD in the 80s and both released through VIPCO. It was the worst print used for a transfer EVER. The film is now on Blu ray through Severin Films and looks amazing after a long lost print was found, where else, but in an abandoned drive in. Life imitates life. Or something.
Here are the Phantasm Remastered Bluray specs courtesy of the preorder at Diabolik DVD–
Phantasm (Remastered) (Blu-Ray)
BLU-RAY BONUS FEATURES:
**New 5.1 Surround Sound
**Original Mono Track
**Audio Commentary with Director & Writer Don Coscarelli, Michael Baldwin (Mike), Angus Scrimm (The Tall Man), and Bill Thornbury (Joan)
**Graveyard Carz Episode
**Interviews from 1979 with Don Coscarelli and Angus Scrimm
I first saw this classic when I was a late teen and studying for my A-levels in college in 1994. My friend taped this for me on the same tape as Last House on the Left. With it being copied from a copy the picture and audio were crappy but somehow this added to the experience of watching a film that at that time was banned in the UK.
Watching the film for the first time was a confusing experience. I knew that it was a powerful film regarding the horror aspect of the movie but I wasn’t expecting the humour that the film contained. It truly is gallows humour but its there loud and clear. ‘Look what your brother did to the door!’ barks the old man. ‘Get back in that kitchen!’ he then barks to Leatherface in a bizarre twist on the maternal role of the extended family.
I also wasn’t prepared for the surreal content I was seeing. The end dinner scene with Sally tied down to an armchair that literally had arms. The frantic shots of her eyes and indeed the veins in her eyes along with the buzzcut music that made up part of the soundtrack.
It took me a while for my brain to process and comprehend these components. I then came to grips with the films intention- these elements were like an E.C. Comics publication. If The Texas Chain Saw Massacre was one of those comics then there would be a lurid illustration of a terrified Sally on the front cover strapped down to the chair during the dinner scene with face shots of the ghoulish cast of The Old Man, The Hitchhiker and Leatherface buried in a side panel.
Indeed, Tobe Hooper has acknowledged the influence of E.C. Comics on the film’s vision. ‘I started reading [EC comics] when I was about seven,’ he told Cinefantastique in 1977, ‘I loved them … Since I started reading these comics when I was young and impressionable, their overall feeling stayed with me. I’d say they were the single most important influence on The Texas Chainsaw Massacre’.
The film’s beginning is a well paced introduction to the film’s upcoming events. With hindsight, whilst the build up to the first kill is well paced and crammed full of significant events you realise that this reletively gentle when compared with whats to come. The full horror of the ‘Saturn in Retrograde’ will be discovered at full pelt soon enough. The asking for directions to the old house resplendent with the old drunk/seer sat in a tyre on the ground, the encounter with the garage owner and the humour of the car window screen washer, picking up the hitchhiker and the first interaction with a member of the family, the rundown old Hardesty house with the spiders in the corner of one of the rooms, the old creek that has dried up long ago…most horror films would love these kind of events, visions and plot elements. The audience is already engaged and fascinated.
But then The Texas Chain Saw Massacre isn’t any horror film. With the character of Kirk entering the cannibal’s house a shocking chain reaction of carnage, insanity and psychosis begins. These elements are turned up to 11 and don’t drop down again for the rest of the film’s duration. This film has murder on its mind and will do everything to satisfy this need.
This movie is a physical, mental and emotional assault on the senses not just for the characters but also for the audience. The teens learn this on entering the cannibal’s house. But its not just the teens who have their senses assaulted. So does Leatherface. Hes just as confused, scared and freaked out by these strangers invading his home. But its the teens who are truly powerless and suffer the most. The dinner scene in which Leatherface starts pawing Sally’s hair but then invades her personal space by sticking his made-up dead skin mask into her face is intrusive, disgusting and violating. Tobe Hooper knows this and so turns this into a POV shot so that the audience gets to fully comprehend what the lead character is enduring at this time.
At this point Sally starts gnarling, growling and crying as something emotionally primeval is brought to the surface. Its here that I’d like to celebrate the Marilyn Burns’ performance. Every time I watch this film her acting leaves me breathless. This feat has to be seen to be believed (like the film itself) as she portrays disbelief, terror, resilience and ultimately insanity. I realise that these are just words and do nothing to fully encapsulate this performance. How good is her portrayal of someone steered towards madness? Compare the end of this movie in which the bloodied, bruised and battered Sally is now being safely driven away in the back of a pickup truck to Dana Kimmell’s attempt at trying to portray insanity at the end of Friday the 13th Part 3. One is masterful, the other is half hearted and utterly unconvincing. The bad emphasises the brilliant.
In fact, whilst most horror movies dream of one great performance that goes the extra mile, The Texas Chain Saw Massacre has at least five. Burns’ performance is one. The performances of the actors portraying Leatherface, The Hitchhiker, The Old Man and Grandpa all pull out the stops and are batshit crazy and brilliant for it.
Another major reason why I love this film is because no backstory or explanation is given for the family or the events depicted herein. There are clues- the gruesome sculptures made of bones and body parts in the family home (taken from the real life case of serial killer Ed Gein on which the film is loosely based) suggest previous victims, conquests and adventures. The talk of family members being employed by the
local slaughterhouse and being the best at their job also suggests part of the family’s history (and their possible unemployment- the Hitchiker says that the airgun used to kill the animals ”is no good. It puts people out of jobs…”). The Old Man has a garage business as ‘he takes no pleasure in killin’ ” as is later disclosed in the later dinner scene. But there is no clear history given for the family or the events that the film depicts. This lends a massive sense of mystery to the film and gets the audience something to think about long after the film has ended. Explanation would kill this film as it would kill nearly all of the great examples of any genre. I just wish the filmmakers who inflict remakes on the world would take heed of this fact.
On closing this review I’d just like to speak about the availability of this film on home media. I watched the film for this review on Dark Sky’s 4K blu ray. I’ve never seen the film look or sound so brilliant. I never expected this film to get such a loving restoration treatment- but it has and for that I’m eternally grateful. This film certainly deserves it. This release is a far cry from the first time I saw the film on a grainy fifth generation VHS copy.
If you’re a horror fan and haven’t seen this then you can’t call yourself a true fan of the genre. If you’re a fan of film in general the same applies. Let this film get under your skin (pun not intended). Your life will be better for it.