10 To Midnight (1983)- J. Lee Thompson’s Vigilante Slasher Sleazefest

10 To Midnight (1983)- J. Lee Thompson’s Vigilante Slasher Sleazefest

I remember one of the first films my family rented when we first got a video recorder (VCR to my American buddies) in 1983 was the Charles Bronson sleazefest 10 To Midnight. OK, I know it sounds weird that such a lurid piece of exploitation was hired for a cosy night of family movie watching but (luckily) my Dad thought that the Daily Mail moral panic when it came to film violence and the dreaded ‘video nasties’ was just plain bs. Thus I got to see 10 To Midnight and such fare from the age of 8 and onwards. And I turned out OK. Right?!

10 To Midnight was released on Guild Home Video- ahh, the memories of the Guild introductory pulse theme tune…of the many pieces of music which remind me of just how awesome the 80’s were this is one of them.

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I hadn’t seen this piece of celluloid slime in a long time and so I thought it was well overdue for a rewatch.

The plot involves a homicidal maniac called Warren Stacy (an extrordinary performance by Gene Davis who had starred as a transsexual hooker in the masterpiece Cruising three years previous) who kills women who rebuff his advances and the cop Leo Kessler (Charles Bronson) who is determined to catch him. By a bizarre twist Stacy sees Kessler’s daughter at the funeral of one of his victims (an ex co-worker who gave him the cold shoulder and paid for it) as she was a childhood friend of the deceased.

Is the film as grimy, perverted and kick-ass as I remember? In a word- YES!

One thing that I found particularly interesting about the film on watching it again was how it perfectly mirrors the general moviegoing public’s populist tastes of the time. 10 To Midnight is a perfect hybrid of both vigilante film and slasher movie which was brave as the filmmakers could have just played it safe and churned out another Charles Bronson vehicle starring a functional but uninteresting adversary.

Instead they made a film with a killer who was just as interesting and quirky as Bronson’s character. In fact, Gene Davis who plays Warren Stacy gives a performance that truly goes the extra mile! It’s a freaky turn that is comparable with Betsy Palmer in Friday the 13th or Andrew Robinson as Scorpio in Dirty Harry- performances that are so full-on and brilliant when portraying mentally unstable people that they are utterly believeable but without curdling into camp or pantomimesque theatrics.

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Gene Davis as Warren Stacy

Not only were the vigilante and slasher genres popular at the cinema but also with the home video audiences of the day. The video was rapidly building in stature and earning a reputation as a ‘must have’ piece of technology for every home. Thus video shops started to spring up everywhere with the more extreme genres proving to be the most popular with the general public. Ahh, the golden days when video shop shelves were filled with wall to wall horror, action and kung-fu movies, each with lurid and sensationalistic cover artwork. The makers of 10 To Midnight knew this all too well and so made a movie that perfectly tapped into this creatively and without making some obvious cynical cash-in.

You’re probably thinking that as this is a Charles Bronson movie you know the kind of formula to expect. But this film actually subverts that narrative. Instead of a Death Wish vibe this film actually has a Dirty Harry-type storyline in that instead of being a ‘civilian who fights back’ here Mr Bronson is ‘the cop who bends the law to apprehend the bad guy’ but with a sting in the tail.

This narrative is always problematic. Kessler is only acting on a hunch when he thinks he knows who is carrying out the murders of the women in the film. The viewer has the advantage of the ‘all seeing eye’ of the film to confirm that Warren is carrying out these sadistic homicides but Leo doesn’t. Kessler bends the rules in a number of different ways with regards to Stacey during the course of the film based on this ‘hunch’ which in real life would make for terrible policing.

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Charles Bronson as Leo Kessler

In fact this ‘all seeing eye’ awarded to the film’s audience is something that elevates this movie from just being a stock post-Death Wish Charles Bronson film. We get to see the devilish deeds of Stacy and how much of a depraved, sleazy and warped character he really is. In other words, he’s perfect for an early 80’s exploitation movie.

Stacy’s character points the film firmly towards slasher movie territory. Theres also a nod towards the ‘true crime’ genre of documentaries and pulp paperbacks as the film and Warren’s character seem to be influenced by real life felons and ‘serial killer as celebrity’ culture.

The first time we see him in the film he’s getting ready to go out for the night. He’s very good looking, has a perfect body and is very vain with it. There’s a vibe of Ted Bundy crossed with a proto-Patrick Bateman (American Psycho) about him. Stacy even drives a VW Beetle which was synonymous with Bundy.

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Sharply dressed men- Stacy…
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…and Bateman

We then see him chatting up a couple of young women in a cinema but only to make sure they recognise him and can later vouch for his whereabouts. He’s constructing his own alibi whilst the audience can see what he really does. He sneaks out of the movie theater through a bathroom window once the film has started, stalks a woman who rebuffed him at his work picnic (!) and murders both her and her date at a lakeside location. This scene is very important to the film as a whole. It establishes that this is as much a slasher movie as it is a Bronson action flick. The fact that the young woman and her partner were mid-carnal encounter hammers this home even further with such an act being a sin within the slasher genre.

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‘You come here often?!’ Stacy establishes his alibi by chatting up two women at the cinema

It also establishes a key feature of the killer and the film’s sleaziness as a whole. He likes to strip naked prior to killing his victims. In fact, there were two versions of this film made- one in which Davis is completely naked in the murder scenes and another in which he is only wearing briefs. This tactic would make sure that there was at least one version of the film which could be shown on TV without it being deemed too sexually explicit.

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A still from the ‘briefs’ version of the film

With this first murder, notice the way the woman is killed with the camera invading her body space and the prolonged, almost uncomfortably long time that it takes for Stacy to actually bump her off. This allows the audience to fully see her terrified reaction to her impending fate. The film milks this for all it’s worth especially with the fact that both victim and murderer are naked. You get to witness how twisted and perverted Stacy really is with the audience getting the impression that he is enjoying the build up to the murder almost as much as the actual deed itself. The terror he evokes from his victim is very much the foreplay to the terrible deed itself.

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The all-nude first lakeside murder

When Stacy climbs back into the cinema he flushes down the toilet the rubber gloves he was wearing when he killed the lakeside couple. This is another interesting facet of the film. The movie shows the killer to be forensically minded. This was years before the multiple CSI series brought that aspect of policing and criminality into the sphere of entertainment. We later see more examples of Stacy being forensically aware as we witness him thoroughly washing the knife he uses to kill the roommate of the previous victim whose diary Stacy goes to seize. Stacy even uses rubber gloves when we see him making dirty phone calls from various public phone booths as to not leave fingerprints on the receiver.

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The forensically-minded Stacy wearing gloves when going to steal the incriminating diary

When the diary of one of Warren’s victims (who is also one of his workmates) exposes the deceased’s true feelings towards him (‘a creep’) this makes him a suspect in Kessler’s eyes even though the journal also mentions other men in a less than flattering light. Leo and his partner, McAnn decide to visit Stacy at his apartment. It’s when asking to use the toilet that Kessler has a look around in Warren’s bathroom. He spies some porno magazines (these are shown to be gay porn- is Warren, in fact, a closet homosexual? Has the killer placed these there as a red herring for any potentially preying eyes? Are the filmmakers trying to imply that this is why he hates women?) but more importantly, a device used for masturbation.

A major factor to the film’s overall sleaziness is that theres an equal emphasis on sex as there is on violence. We even got some Freudian film analysis as Kessler exclaims that in this case the knife used in the murders symbolises the killer’s penis. Not bad for an exploitation film.

Warren is interviewed. In one of the most notorious scenes of the film, the sexual aid is brought out with Bronson sarcastically asking what the appliance is used for before roaring ‘It’s for jacking off!’ It’s during this meeting that we find out about an incident from Warren’s childhood that adds to Kessler’s sense of unease about him- he cut a small girl, was reported to the police by the girl’s mother and so as retaliation smashed one of her windows and threw a dead cat inside. Kessler also becomes a bit too ‘hands on’ during his interrogation of Stacy, at one point grabbing his head to make sure he looks at pictures of the murdered women. Leo is firmly from the ‘act first, ask questions later’ school of policing. But, whilst a policeman like Leo may be great in an exploitation film from the 70’s and 80’s, would we really want such authority figures operating in real life?

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A different kind of juice extractor

Kessler is willing to bend the rules and even resort to violence to get a confession. This is extremely problematic and will backfire on Leo later on in the film.

Kessler asks his superior to get Warren brought in on a spurious charge that he didn’t commit just to keep him off the street where he might kill more women (even though Leo doesn’t know for sure that he’s the killer). McAnn has a dual role in the film. Not only is he Kessler’s ‘by the book’ police partner but he also acts as some kind of moral balance to Kessler’s ‘make my day’ gung-ho method of policing.

Kessler’s view on law and order is also extolled when he states that he sees the law as protecting the ‘maggots’ such as Stacy as if they were ‘an endangered species’ after he learns that a lack of concrete evidence would prevent Warren from being arrested and tried in a court of law.

Stacy stalking the nursing apartment complex where Leo’s daughter Laurie lives and making the nuisance phone calls also mines into events that a lot of viewers could relate to that are very much of their time. During the early 80’s these kind of calls were all too commonplace with telephone companies not yet having mastered the practice of tracing where a call was coming from.  Sourcing a call in those days was a laborious task and hadn’t really advanced from the same method so brilliantly depicted in Bob Clark’s masterpiece Black Christmas in 1974.

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Stacy makes nuisance phone calls to his victims. Note the rubber gloves and ‘Equalizer opening credits’ style chic

The houseshare of nurses also points the film towards the ‘slasher’ genre. There have been other examples of this conceit used in stalk n slash films before and since with one of the most innovative being the movie Slumber Party Massacre in which girls are in a confined space which provides easy pickings for the deranged psychopath. Within 10 To Midnight this scenario also echoes real life events, primarily the Chi Omega murders carried out by Ted Bundy after he escaped from jail. Bundy appears to have massively influenced this film and it’s narrative.

But before the film shows this sorority house invasion by Stacy we see more of the corrupted version of ‘justice’ which is engineered by Kessler. He goes into the crime laboratory whereby he sees the lab technician smoking marijuana. He tells the tech that he will turn a blind eye. Obviously this will work both ways later on as when Kessler asks for the tech to retrieve a file for him he sneaks into the DNA evidence room and extracts a sample of Stacy’s blood. Kessler’s thinking is that if he is willing to turn a blind eye then the lab technician will surely do the same for him.

When blood is suddenly found on the forensically fastidious Stacy’s clothes, Warren is informed of this by his crooked lawyer. He doesn’t react to this news well and becomes extremely agitated and violent. We get the feeling that with Stacy taking such pride in being methodically precise with all of the circumstances surrounding his killings, this forensic indiscretion is known to him to be both false and an example of him being framed. This news is a distinct slap in the face for him and the professionalism of his methods.

Kessler meddling in affairs by trying to engineer the justice he desires so much sets into motion a domino effect of events which 10 To Midnight is brave enough to depict. Within a vigilante or rogue cop film we normally only see the positive effects of such law bending rather than what can go wrong.

Stacy’s lawyer, Dave Dante, states to Kessler’s ‘by the book’ partner McAnn that he believes that the blood was planted on his client’s clothes. McAnn follows up on this with the lab tech who mentions that Kessler disappeared to the room where the blood samples are kept. When McAnn mentions this to Leo he confirms that he did plant the blood on Stacy’s clothes.

Because of this Leo confesses during Warren’s trial that he did in fact plant the evidence himself. The film then shows the dire consequences of such actions- the waste of public money for the trial being held, Warren Stacy being set free when he could be guilty of the alleged crimes (something that the audience knows to be true but the film’s characters don’t for certain), the fact that Kessler has snubbed his nose at due process. Leo is then fired because of his actions. Such resultant actions that occurred because of Kessler’s meddling with justice shows that the movie is much more than just 42nd Street and drive-in fare. It’s great to see that the movie is well-rounded enough to show that such tactics can have the opposite effects instead of what was hoped for.

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Stacy is set free with Dante beside him (right)

Dante also tells Warren something very telling during their pre-trial consultation. He advises his client to ‘act crazy’ as a last resort. This could involve saying that he thinks he is in fact two people and hears conflicting voices from both- a ‘bad’ personality telling a ‘good’ personality what to do. It’s a widely held presumption that a criminal can have a cushier time serving their sentence in a mental facility rather than permanently looking over their shoulder in a maximum security prison where a prisoner’s survival isn’t always guaranteed. This view also resonates with similar views held in real life. A prison guard overheard Yorkshire Ripper Peter Sutcliffe tell his wife Sonia that if he just convinces the jury that he is ‘mad’ and not ‘bad’ then his sentence served in a psychiatric hospital will be a doddle and he could even be released sooner. Another nod to real life ‘true crime’ culture that the film references.

On being set free, Stacey rings Kessler to taunt him about his deeds backfiring. He also intimates that he will continue with his terror campaign. This in turn spurs Leo on to wage war and intimidate Stacey in a number of ways that include breaking into Warren’s workplace and placing crime scene photographs on the staff noticeboard for all and sundry to see, driving next to Stacy to unsettle him, loitering outside Stacey’s apartment block (McAnn again acts as Leo’s conscience and approaches him to tell him that he shouldn’t be there) and breaking into Warren’s apartment and sabotaging his stereo so that it starts playing loud music when Stacy enters. These are deliberate intrusions of Warren’s territory by Leo and a clear indication that Kessler can infringe on Stacey’s private space just like Warren has to countless other women.

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Kessler drives next to Stacy and makes his intrusive presence known to him

Stacey knows that Kessler is watching his every move outside his apartment and so decides to shake him off so that he can deal with a more prescient task- the dispatching of Leo’s daughter as an act of superiority over him and to hit Leo truly where it hurts.

The audience gets a sudden detour into nocturnal downtown L.A. with it’s peepshows, hookers and grindhouse theaters. Stacey picks up a hooker fully knowing that Kessler will follow but then slips out of a window in the motel he has lured Kessler to. He then goes to Laurie’s shared accommodation.

This is where the slasher component of the film comes to the fore again. In an incredible moment of self-reference, the nurses in the houseshare even refer to Stacy as ‘the slasher’ when McAnn is setting up a tap on their phone for when Stacy calls them again.

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Whilst Kessler is on the phone urging one of Laurie’s roommates to not open the door to anyone, another roommate is opening the door to what she thinks is a delivery of roses for Laurie from McAnn. But this is instead Stacy, naked and armed with a knife. He even has his trademark rubber gloves on, forensically aware to the end.

This sequence is quite extraordinary even within the extreme genres of the vigilante movie and the slasher film. Firstly, it’s audacious that a film should attempt a scene with a killer who is completely naked and somehow manage to do so whilst not inadvertently exposing any of the villain’s ‘crown jewels’. In a number of shots this is even done by the filmmakers with tongue firmly in cheek (pun not intended). Witness the scene where the killer’s modesty is masked by the body of one of the roommates being held close to him. In another, Laurie is under a bed hiding from Stacey but watching his every move. His manhood is hidden from view when he steps in front of a bedpost.

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The bare cheek of the film: the nursing apartment home invasion

This scene also goes the extra mile as it feels extremely uncomfortable to watch just like the earlier lakeside murder sequence. The extreme terror of the women going through these traumatic proceedings is there for all to see and feels like a nod of the cap to films like The Texas Chain Saw Massacre or Last House on the Left. This kind of gritty and unflinching capturing of sheer fear was, with this film, transported from the sidelines of drive-in and grindhouse cinema and now made an ingredient within a mainstream Hollywood film with a ‘name’ leading actor. That was a very brave move to make.

Within this sequence it’s obvious Stacy is getting off on the terror he is evoking and so he takes his time before the actual dispatching of his quarry to elicit as much pure fear from them as possible. These scenes feel necessary to the plot because of this rather than being a cheap and very sick device. This isn’t just the pornography of terror.

The end of this sequence is also noteworthy. Laurie evades Stacey’s clutches by hitting him where it hurts- but not where you think with him being naked. As Laurie tries to leave the apartment she is grabbed from behind by Stacy but retaliates by scolding his face with a pair of curling tongs that were being used just prior to Warren’s home invasion. Aside from kicking him in the balls, this is the worst place to attack someone that the film has established as being so vain.

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‘Not the face!’ Laurie hits Warren where it really hurts

We then see the leadup to the final scene and confrontation between Stacy and Kessler. This involves seeing Stacy (still naked!) chasing Laurie outside (thankfully for Stacy the street is very quiet). Warren is catching up with her when we see her run into the arms of her father. When Leo admonishes Warren for his actions, Stacy tries to say that he only did them because of Kessler’s treatment towards him which cajoled him into further action. Warren then adopts the ‘I’m mad!’ narrative that his lawyer prepped him with earlier. The police arrive but Warren momentarily evades their clutches only to be shot dead by Kessler.

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The final scene. Bronson as judge, jury and executioner

This final scene is the perfect meeting point of the slasher and the vigilante movie genres. The bad guy is meeting justice from the gun of the flawed good guy who has assumed the mantle of ‘judge, jury and executioner’. The bad guy is naked. He’s also just exclaimed to the world how insane he really is and that when he gets out he’ll continue his murderous ways.

Apparently Kessler and Stacy were supposed to fight at the end of the movie. However, Bronson objected to this as he didn’t want to roll around with a naked man!

10 To Midnight also has two other distinct advantages that seal it’s ‘classic’ status.

Firstly, it’s a Cannon Film- an obvious seal of exploitation excellence.

Secondly, ‘esteemed’ film critic Roger Ebert despised 10 To Midnight when he reviewed it which, if nothing else, should propel any self-respecting exploitation fan to want to investigate the film further. Did he not know that his review would actually send gorehounds to the cinemas in droves to see it? Tell me if these titbits from his review don’t whet your appetite-

”This is a scummy little sewer of a movie, a cesspool that lingers sadistically on shots of a killer terrifying and killing helpless women…”

”The movie lingers on the faces of screaming women. It revels in its bloodbaths. Gore spurts all over the screen. The final sequence is so disgusting that I wrote the first sentence of this review in my mind while I was watching it.”

Nice job, Roger. I’m there!

10 To Midnight is out now on Blu ray on the ever brilliant Scream Factory

Review- Vigilante Force (1976)

Review- Vigilante Force (1976)

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An army vet is employed as a police officer to bring down crime levels in a small town. But he quickly becomes the problem rather than the cure.

This really is a B movie and reminds me of the blander half of the double-bills you used to watch in cinemas back in the day.

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It’s interesting to see Charles Cyphers pre-Halloween and John Steadman pre-Hills Have Eyes though.

Other than that it’s a bit of a yawn.

1.5 out of 5

Dirty Harry (1971) *****

Dirty Harry (1971) *****

A film I know word for word as my brother and I were obsessed with it when we were growing up.

A classic but a problematic one. The cop who flaunts the law and the rules to catch his prey. Hes proud of hating everyone and all groups (the character in this film and in so many Clint Eastwood movies seems to be politically incorrect decades before political correctness became an actual concept). Hes a one man lynch mob who follows his instincts and isn’t afraid of blowing away a suspect and asking questions later (I wonder if one of these questions is ‘Was the dead actually guilty?!’) This character is a right-winger’s wet dream- who cares about a fair trial and the law when these things take so long and might not (seemingly) provide actual justice. The Daily Mail’s readership must love Harry.

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Harry’s policing would also include beating interviewees for confessions and said victims somehow developing breathing problems whilst in police custody.

Of course in this and subsequent films Harry is always shown to be right. Its a wasted opportunity that a Dirty Harry film wasn’t made that shows that Harry blew away an actual innocent person. At the films climax there could be a scene after that shows that the wrong person was killed and that the crimes being committed beforehand were actually continuing. Its not late for such a movie to be made. It would have the ‘Bring back hanging’ mob in uproar.

But for all of the bending of rules and trigger happy exploits of the main protagonist during the course of the film it is established that whilst he may be an authority hating maverick its because he actually wants law and order and for the citizens of San Francisco to be safe. The scene in which he runs from phone booth to phone booth to save the kidnap victim shows his willingness to undertake near impossible feats if there is a chance of a saved life at the end of his toils. There is also the scene of the kidnapped girl’s lifeless and naked body being dragged from its underground lair which Harry watches from the distance. This scene is a rare moment of tenderness in such a rough and tumble movie and is genuinely moving. Harry is established as having his priorities right even if they are accomplished in questionable ways.

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But to quote Last House on the Left this is only a movie. Aside from the films politics this a rollicking good ride. It perfectly captures its time effortlessly and can be seen as some kind of American time capsule regarding the era it portrays. This was a divisive and fractious period in American history which manifests itself throughout the film. Whilst this was the time of hippies and peace and love this was also the time of Charles Manson and Altamont with more dark times ahead for America.

Whilst Clint may be the star of the film there is another star that is just as important and that is the city of San Francisco itself. It is photographed to perfection with every scene being memorable due to the amazing locales. The neon ‘Jesus Saves’ sign, the huge crucifix monument, the grandeur of City Hall…the list is endless. All beautiful and integral to the film to such a degree that they feel like an actual breathing entity. This film would have been inferior or cliched if filmed in New York for instance.

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An anti-hero as hard boiled and gritty as Harry Callahan deserves a villain just as idiosyncratic. Thankfully this film provides just that and then some. The character of Scorpio (named as Charles Davis in the film’s novelisation) is brilliantly depicted by Andrew Robinson as utterly unhinged, homicidal and completely batshit crazy. This character is obviously based on the Zodiac Killer who was operating in the Bay Area at the time of the films conception. In fact this is one of those performances that not only goes the extra mile but goes considerably beyond that. Watch the scene in which Scorpio hijacks a busload of schoolchildren and gets them to sing ‘Row Your Boat’ whilst saying that hes taking them to the ice cream factory. This level of insanity reminds me of Betsy Palmer’s turn as Pamela Voorhees at the end of Friday the 13th in terms of getting into ‘the zone’.

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Add to this a barrage of brilliant and quirky supporting characters (shouts go out to Inspector Frank “Fatso” DiGiorgio and Hot Mary) and the stage is set for a blast of a film.

Lalo Schifrin’s score is both funky and also very, very disturbing. The music is just as brilliant as the rest of film. Thankfully the full soundtrack is available to buy both physically and as a download.

Everything is in place to make this movie a masterpiece- iconic, quotable and career defining. There was also a rash of vigilante/maverick cop movies influenced by Dirty Harry led by Michael Winner’s Death Wish (also highly recommended).

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Just don’t start wishing for the kind of justice Dirty Harry or the sub-genre it spawned seem to condone.