by Steve Habrat
If you’re one that has ever sat through an entire Lucio Fulci film, you understand that the Italian horror director was something of an acquired taste. The “Godfather of Gore”—as he is often referred to—took great pleasure in painting the movie screen red with globs of entrails, buckets of candle wax blood, jellied brains, rotting skin, and showers of wiggling maggots, something that he was often criticized for. Surely, a man that crafts ultra-violent films such as these must have, well, a cat fiercely clawing, scratching, and chewing away at his brain! Near the end of Fulci’s long and varied career (he made everything from comedies to gialli to spaghetti westerns), he released Cat in the Brain (aka Nightmare Concert), a meta-gorefest that finds the cult filmmaker reflecting upon his gruesome body of work and the toll those gory films had on his psyche. Strung together with horrific snippets from his earlier gialli and horror films, Cat in the Brain is surprisingly well rounded and clever for a film that threatens to act as a sort of highlight reel for Fulci’s most revolting kill scenes. Yet the splatter master smartly builds a thought-provoking thriller around these recycled sequences, and the end result is a standout release from the twilight of his career.
Cat in the Brain finds Fulci playing himself, Dr. Lucio Fulci, a horror director who is well known for his ultra-violent genre films. One day, after filming a particularly nasty sequence involving cannibalism and a questionable steak, Fulci decides to go to a nearby upscale restaurant for lunch. Upon arriving, Fulci orders up a steak, but his appetite is quickly curbed when his mind wanders back to the gruesome sequence that he was filming just moments before. Some time later, Fulci suffers another flashback after glimpsing a gardener slicing up some logs with a chain saw. The flashback triggers a nervous breakdown that prompts the horror director to seek out the help of a local psychiatrist by the name of Professor Egon Swharz (played by David L. Thompson). Swharz suggests that Fulci try hypnotism to aid with these terrifying flashbacks, but as it turns out, Swharz has a much more sinister plot in store for Fulci. Swharz plans on committing a number of heinous murders and using the hypnosis to trick Fulci into thinking he committed the murders, pushing the already fragile director to brink of madness.
With Cat in the Brain, Fulci is fiercely aware of his fan base, composing a grand old opera of sex, violence, and depravity almost exclusively for them. It also finds the director recognizing the fact that he wasn’t exactly held in high regard in many circles, as he was often attacked for the exploitative nature of his horror films. In response to the criticism, Fulci conjures up a tidal wave of carnage that features chain saw mutilation, beheadings, cannibalism, melting faces, surging guts, a cat gnawing away at a brain, and various other segments of bloodshed that will have his devout fans floating on cloud nine and his harshest critics groaning is disgust. While there are various points of Cat in the Brain that send a chill or two (a certain graveyard sequence comes to mind), the endless barrage of grindhouse violence seems to be Fulci’s way of taunting his critics—looking them square in the eye and saying, “You thought my pervious work was vicious? Well, you ain’t seen nothin’ yet!” Of course, his response comes off as light-hearted and comical, as he presents himself in the opening credits as a perverse mad scientist hunched over a pad, conjuring up various death scenes to use in future movies. This transitions into a close up of a cheesy-looking cat devouring Fulci’s glistening brain matter, a ravenous and cartoonish madness that just can’t be tamed.
Then we have Fulci’s sympathetic performance as himself, a role he seems to take great pleasure in playing. In between his bouts of insanity, Fulci portrays himself as a nice guy who is just doing his job. To his friends and neighbors, he is simply that guy who makes those horror movies, yet everyone seems to have a general fondness and respect for the artist. When that cat starts hissing and clawing around upstairs, Fulci really gets to have fun with people’s perception of him. When directing a Nazi orgy, he presents himself in a misty medium shot as he manically whispers orders to his bare-naked cast members. Other times, he is stricken with disgust over the visions he suffers from, clutching at his heart like he is fending off a sudden heart attack. The stand out scene comes when he wanders around a friend’s house in terror, gasping at visions of the friend’s family members getting chopped, stabbed, sliced, and diced like a couple of Thanksgiving turkeys. (This sequence also appears to feature a bloody tribute to the shower sequence in Alfred Hitchcock’s Psycho) The puppeteer behind Fulci’s madness is David L. Thompson’s Professor Swharz, a grinning madman who hypnotizes the poor director into thinking he is on a killing spree. Thompson is surprisingly creepy in the villainous role, a sadistic psychiatrist who uses other people’s demons to his advantage. One thing is certain; Fulci doesn’t think much of shrinks.
While Cat in the Brain’s self-reflexive structure seems a bit disjointed and slightly puzzling in places (Would you expect anything less from the “Godfather of Gore?”), Fulci still manages to produce a final product that effectively blurs the lines between what is a hallucination and what is real. This makes Cat in the Brain seem like a playful horror exercise, one that simultaneously toys with the viewer like a ball of yarn, while advising other horror directors who may have suffered light trauma from their violent work to opt for a sunny vacation with a pretty girl over a trip to the dreaded psychiatrist’s office. Another admirable aspect is the fact that Cat in the Brain is able to overcome the trap of acting as a highlight reel. It actually takes on an identity all its own, as Fulci meshes the gooey clips seamlessly with his freshly shot footage. Overall, Cat in the Brain is far from Lucio Fulci’s best work, but as a late-career effort from a man who was past his glory days and grappling with deteriorating health, it’s something of a high point. This is a delightfully deranged and darkly hilarious horror rendition of Federico Fellini’s celebrated art-house classic 8 ½, with an overflowing ladle of sex and sleaze drizzled on for extra zing.
Cat in the Brain (aka Nightmare Concert) is available on DVD.
by Steve Habrat
Among the many subgenres that make up the exploitation catalogue of the mid-1970s and ‘80s, the most ferocious and merciless is undoubtedly the cannibal films that first emerged in 1972. Started by Italian splatter director Umberto Lenzi with his film il Paese del Sesso Selvaggio (The Man from Deep River), the jungle cannibal movement hit a barf bag high with director Ruggero Deodato’s infamous 1980 bloodbath Cannibal Holocaust, easily the most stomach churning of the bunch with its traumatizing sequences of violence, sex, and animal cruelty, all laid out in plain view to make you recoil in disgust. From the dingy grindhouses on 42nd Street to the uproar it caused in Milan, Cannibal Holocaust was a major hit with audiences, prompting Lenzi—the director who started it all—to respond in 1981 with Cannibal Ferox, an equally repulsive but tremendously cheesy venture into the jungles of the Amazon. Released into American grindhouses and drive-ins under the menacing title Make Them Die Slowly, Cannibal Ferox will certainly have audience members with weak tummies burping back their lunch over the extreme special effects, but like most Italian exploitation films of the time, the film is brimming with goofy dubbing, mild overacting, eye-rolling dialogue, and a trumpeting score that only adds chills when it shifts over to a moaning electric guitar. It’s a gross out that you just can’t stop chuckling at.
Cannibal Ferox begins on the mean streets of New York City, with a drug addict looking for a heroine dealer named Mike Logan (played by Giovanni Lombardo Radice). Upon arriving at Mike’s apartment, the buyer bumps into two mobsters who demand to know where Mike is. As it turns out, Mike owes the mobsters $100,000 dollars, but has apparently high-tailed it out of town to avoid paying up. Meanwhile, anthropologist Gloria (played by Lorraine De Selle), her brother, Rudy (played by Danilo Mattei), and their free-spirited friend, Pat (played by Zora Kerova), arrive in the Amazon jungles to prove Gloria’s theory that cannibalism is a hoax. Shortly into their adventure, the trio bumps into Mike and his severely wounded partner, Joe (played by Walter Lucchini). Mike and Joe frantically explain that they were attacked by a cannibalistic tribe and that a third member of their party had gruesomely perished in a nearby village. The group eventually stumbles upon the village where the third member of Mike and Joe’s group met a grisly end, but the village now seems largely deserted, with only the elderly remaining. The group decides that they will camp out in the village until they can get help for Joe, but after Mike and Pat attack and kill a young native girl, the younger villagers return to exact horrific revenge.
When Cannibal Ferox first arrived in America, the posters and VHS jackets proudly declared that it was banned in 31 countries due to the extreme violence within the film—something that was sure to stir up some hype and lure viewers into the dilapidated theaters that dared to show it. Furthermore, swapping the title Cannibal Ferox for the more lurid Make Them Die Slowly also added another layer of icky intrigue. While time hasn’t exactly been kind to some of the ultra-violent Italian exploitation films from the ‘70s and ‘80s, the special effects of Cannibal Ferox haven’t softened up in the slightest. For those with the an iron stomach, the film treats to you to two castrations, a gouged-out eyeball, one character having hooks shoved through her breasts and then strung up to bleed to death, a group of natives slicing into the chest of one fallen character and chowing down on his innards, and another character having the top of his head sliced off with a machete and the villagers lining up to grab at handful of his brains like they were picking from a bucket of popcorn. For fans of the cannibal genre, it delivers, but when held up to the unflinching “found footage” approach that Deodato took to Cannibal Holocaust, it pales in comparison. Yet Cannibal Ferox gets an extra bump due to the real animal slayings that are guaranteed to upset the uninitiated. Determined to match Cannibal Holocaust every step of the way, Lenzi goes berserk with the animal cruelty to the point of disturbing even the most hardened of exploitation viewers.
And then we have the performances, led by genre regular Giovanni Lombardo Radice (Cannibal Apocalypse, City of the Living Dead), billed here under the name John Morghen. Radice brings some of the same screw-loose intensity that he brought to Cannibal Apocalypse. Here he is a greedy, coked-up madman who seduces Pat with powder, and gets his jollies from tormenting the natives. He’s a miserable piece of humanity meant to represent the savagery that brews and festers in bowels of civilized society. Radice is top-notch, even when his villainous side threatens to go over-the-top, but his downfall, which was out of his hands completely, comes from the atrocious dubbing and dialogue added in postproduction. As Joe, Mike’s wounded partner, Lucchini is surprisingly reserved when propped up next to the insane drug dealer. His compassionate side bleeds through when he witnesses Mike’s true savagery emerge in the most appalling way imaginable, making him a sympathetic character consumed by Mike’s personal demons. Kerova’s Pat is largely asked to run around with her shirt open and add a bit of sex appeal to this mud and blood show. Yet there is something fascinating about watching her get sucked in momentarily to Mike’s uncontrollable rage, and the results of her flirtation with the dark side have grave consequences. Mattei is slightly stiff as Rudy, the good guy who tries desperately to make a break for it and save his friends. De Selle overacts her role as Gloria, the anthropologist determined to prove that cannibalism doesn’t exist. Wait for her hilarious plea with a native savior gruesomely impaled on a wicked-looking jungle trap.
Like most grindhouse knock-offs made to capitalize on another film’s popularity, there are aspects of Cannibal Ferox that are glaringly cheap or unintentionally hilarious. On the whole, Cannibal Ferox lacks the realistic polish of Cannibal Holocaust, seemingly made in a hurry so that Lenzi could claim the cannibal movie throne from Deodato. The score from Roberto Donati and Fiamma Maglione is nice and sleazy, opening with a smile-inducing siege of funky trumpets and slapping urban jazz as Lenzi’s camera spirals around the concrete jungle of New York City. It’s definitely something you wouldn’t expect to hear in a film like this, and it certainly never matches the eerily calm and dreamy synthesizers that the late Riz Ortolani used to set the scenic stage for Cannibal Holocaust. Things fare a bit better in the score department when we step off the beaten path and venture deep into the jungle. It is here that we get static guitars that effective make your arm hair stand on end. And then there is the dubbing and dialogue, both of which keep earning their share of unintentional laughs over the ninety-minute runtime. Overall, while it provides plenty of sleazy thrills for horror and exploitation fanatics, and it thoughtfully reflects on how the depraved actions of one can have devastating penalties on so many others, Cannibal Ferox spends way too much time mimicking the far better Cannibal Holocaust. You’re left wishing that Lenzi, the godfather of the jungle cannibal movies, had taken a few artistic risks to further the genre along.
Cannibal Ferox (aka Make Them Die Slowly) is available on DVD.
by Steve Habrat
At the height of the Italian zombie and jungle cannibal craze, exploitation director Antonio Margheriti (yes, you heard his name in Quentin Tarantino’s Inglourious Basterds) came up with the idea to mix the two splatter subgenres together, add a dash of Apocalypse Now and The Warriors, and replace real jungles for concrete ones. The result of this strange brew is Cannibal Apocalypse, a hit-or-miss grindhouse zombie extravaganza that features some impressive gore for a low budget Italian exploitation effort, some mildly entertaining action sequences, gratuitous nudity, and, yes, even a bit of senseless pedophilia. Cannibal Apocalypse could also have been a fairly solid exploration of the traumas of war and early on it seems like it is threatening to get a bit psychological, but after the first twenty minutes or so, the film abandons any sign of something substantial. In its place is the same old clichés that we’ve seen before set to the same synthesizer scores that played over countless other Italian zombie and jungle cannibal movies before it. The only difference is there is a hilarious saxophone playing over those pulsing synths. Make no mistake; this is an exercise in sleazy short-term thrills that goes great with a few Pabst Blue Ribbons. There is no long-term meditation and reflection over a glass of Chardonnay.
Cannibal Apocalypse begins with a rip-roaring flashback to the Vietnam War, with Norman Hooper (played by John Saxon) and a group of commandos storming an enemy bunker where two other commandos, Charlie Bukowski (played by Giovanni Lombardo Radice) and Tom Thompson (played by Tony King), are being held prisoner. Much to Noman’s horror, his two buddies have developed an insatiable hunger for human flesh and are in the process of devouring the charred body of a Vietnamese woman. While trying to help his friends, Tom suddenly lunges at Norman’s arm and he tears a big chunk right out of it. Several years later, Norman appears to be living a normal, happy life in an Atlanta suburb with his wife, Jane (played by Elizabeth Turner). Despite the happy face he puts on, Norman is still haunted by the horrors that he witnessed during the war and he even finds himself being seduced by the teenage girl next door. To make things worse, he finds himself craving human flesh. One day, Norman gets a call from Charlie, who has been recovering in a local mental hospital, about grabbing a drink and catching up. At first Norman turns down Charlie’s offer to get together, but after Charlie goes berserk in a local movie theater and rips open a girls throat, Norman is forced to reconnect with his friend and convince him to give himself over to the authorities. While in custody, Charlie meets up Tom, who is also still craving human flesh. As Charlie and Tommy bite more and more people, the cannibalistic cravings begin to spread and madness begins spilling into the streets.
The opening twenty minutes of Cannibal Apocalypse are fairly impressive and well spoken, as the camera is trained on the seriously disturbed Norman and the traumas that haunt him. He suffers from terrible nightmares and he squirms every single time he sees a piece of raw meat sitting in his refrigerator. Things really boil over when the young neighbor girl seduces Norman and he proceeds to take a chunk out of her hip. It is creepy in more ways than one and frankly unnecessary. From here on out, the filmmakers are more interested in showing bare breasts and giving the audience extreme close-ups of teeth tearing into chunks of meat rather than exploring the mental slip that these characters are experiencing. The gore just continues to escalate and you should know that the effects are pretty jaw dropping for a cheap Italian cannibal flick. One scene finds a doctor having his tongue ripped out by an infected nurse after he mistakes her attacks for seduction. Just to make things even more disgusting, the nurse then spits the very realistic tongue onto the floor and proceeds to bash the doctor’s head open. In another standout moment, our group of cannibals huddle around one victim’s leg and then saw it open with an electric saw, all while the camera zooms in on the mutilated meat. Yet the king daddy of gore shots comes when one character has a hole blown through their stomach with a shotgun. Just to make sure we understand that there was a hole blown through the character’s stomach, Margheriti cuts to it multiple times and even shows an extreme close up of it.
While the artier spurts may be the true stars, Cannibal Apocalypse contains some surprisingly passable performances from the actors. Saxon is convincing enough as the mentally unstable Norman. It rumored that Saxon really hated making the movie and that he has refused to see it. You’d never guess he was miserable though, as Margheriti never catches him sleepwalking through a scene. Then we have Radice, who you may remember from Lucio Fulci’s City of the Living Dead. For those who don’t remember him, he is the guy who gets the drill right to the temple. Radice is in full crazy throughout much of Cannibal Apocalypse and he seems to be relishing every second he is in the film. If you think Radice is gonzo, wait until you get a load of King’s gnashing and thrashing Tom, who chomps, rants, and raves all while blood drips from his gums. He is so outrageous that he surpasses bad and just dives right into hilarity. Turner meanwhile is forgettable as Norman’s suspicious wife, who doesn’t even seem moved when he tells her he was fooling around with the girl next door. May Heatherly is also on board as Helen, a poor nurse who gets bitten and turns into a robotic cannibal with a craving for human tongues. She joins the pack of flash eaters near the end of the film as they dash around in the sewers, but she is mostly there to get gunned down by gas masked police officers.
Heavily inspired by Fulci’s Zombie and George A. Romero’s Dawn of the Dead, Cannibal Apocalypse never reaches the extreme highs of either film it is attempting to emulate and it certainly never taps into the satire that Romero did in 1978. Margheriti does manage to deliver a few action sequences that will hold your attention, especially the climactic chase through the hazy and rat infested Atlanta sewers. There is also an unintentionally hilarious brawl with a group of bikers in a seedy alleyway that looks like something ripped right out of The Warriors. The unintentional laughs will continue when you hear the wildly inappropriate disco score that accompanies most of the carnage. Overall, Cannibal Apocalypse is far from scary and it squanders every single opportunity to explore the impact that war has on our troops, but as far as inexpensive exploitation films go, it does have some stomach churning violence. This is only for those people who have worn out their copies of Zombie and Dawn of the Dead and are craving a lesser-known cannibal flick.
Cannibal Apocalypse is available on DVD.
by Steve Habrat
In the wake of George A. Romero’s zombie masterpiece Dawn of the Dead and Lucio Fulci’s surprise smash imitation Zombie, the walking dead became all the rage in Italy during the late 70s and early 80s. While most of these films were made on the cheap and focused heavily on gratuitous violence, there was still a few that managed to be pretty entertaining and stand out from the bunch. Perhaps the most warped of these standouts is exploitation director Andrea Bianchi’s Burial Ground: The Nights of Terror. Plot-less, artless, and wildly perverted, Burial Ground has climbed the cult classic ranks mostly due to the presence of Peter Bark, a 25-year-old dwarf that is onboard here as a young boy named Michael, who is sexually attracted to his own mother. This relationship certainly trumps every other “eww” factor in the film, but Bianchi has a few more tricks up his sleeve to shock and repulse. Burial Ground wastes absolutely no time jumping into the exploitation action, beginning with a little sex and nudity and then launching itself headfirst into non-stop gut munching. Those searching for a zombie film with a biting social commentary mixed in with the shuffling undead hordes better start looking elsewhere. This sucker is all about grossing you out.
Burial Ground begins with the bearded Professor Ayres snooping around ancient Etruscan catacombs near his home. As he investigates the catacombs, he accidentally sets off a mysterious device that unleashes a horde of shuffling ghouls that proceed to eat him up. A few miles away, three couples, Leslie (Played by Antonella Antinori) and James (Played by Simone Mattioli), Mark (Played by Gianluigi Chirizzi) and Janet (Played by Karin Well), and George (Played by Roberto Caporali) and Evelyn (Played by Mariangela Barbieri), arrive at Ayres’s mansion for a relaxing getaway. Also among the group is Evelyn’s young son Michael (Played by Peter Bark), a creepy little kid with a huge crush on his “mama.” Shortly after the group arrives, they all engage in a little afternoon delight and then they all take to the mansion grounds to do a bit of exploring. While taking in the idyllic scenery, the couples come face to face with the walking dead that have been unleashed by Professor Ayres. Terrified and confused, the group retreats to the mansion and begins boarding up all the windows and doors, but as day turns to night, the zombies reveal that they are not as mindless as the group initially thought and that they are actually very resourceful.
Right from the get-go, it is obvious that Burial Ground is more interested in spilling blood than giving any sort of clear explanation as to how exactly Professor Ayres woke these Etruscan cannibals up or why they are cursed to walk the earth as these monsters. Bianchi asks us to simply accept it and embrace the film for what it is—a cheap exploitation movie. The best part of the entire film is the zombies, which all wear some seriously nasty and detailed make-up. Much like the ghouls of Fulci’s celebrated Zombie, these zombies have worms dangling from empty eye sockets, jagged teeth protruding through their rotten lips, exposed bones, maggots slowly crawling out of gashes, and yellowish blood oozing from gunshots wounds. When they finally catch up to their victims, they rip their stomachs open and pull out a seemingly endless string of entrails. We are then treated to extreme close-ups of the decayed zombies chewing on various body parts as skin-crawling sound effects echo on the soundtrack. Unlike Fulci’s zombies, these undead nightmares don’t just rely on their bony hands and discolored fangs to get to their victims and rip them apart. These ghouls raid the gardening shack and pick up various weapons including axes, pitchforks, knives, and even a scythe to use on their meals. There is one eerie scene that finds the mansion maid sticking her head out of one of the mansion’s windows and getting her head chopped off by some scythe-wielding ghouls, who then all greedily grab for their blood treat. This particular scene is about as terrifying as Burial Ground gets.
What really puts a bullet in the head of Burial Ground is the absolutely atrocious acting from nearly everyone who steps foot in front of the camera. The only two performers who really stick in the viewers mind are Bark as the Oedipal Michael and Barbieri as his sexed-up mother Evelyn. The adult Bark is absolutely hilarious and downright unsettling playing a child that is maybe eleven or twelve years old. He slinks around the mansion and bursts in on his mother and George as they have passionate sex. His mother’s response upon seeing Michael is to leap out of bed and barely cover herself in front of her bug-eyed son as he calls out “mama!” As if Bark wasn’t weird enough, Bianchi then dubs the man-child with a voice that sounds like an adult attempting to sound like a little kid. Over the course of the film, Michael’s relationship with his mother gets more and more bizarre as he reaches up her skirt and tries to expose her breasts during a zombie attack. If those scenes don’t have your jaw on the floor, Bianchi has one final shock for you in the final moments of the film. If ever there was an image that would burn itself into your brain and haunt your dreams for the rest of your life, it is this one. If you’re wondering why the 25-year-old dwarf Bark was cast as a child, Italian law stated that a child could not be cast in a film that featured such graphic content.
If it weren’t for the incestuous subplot between Michael and Evelyn, Burial Ground certainly would not have the rabid fan base that it does today. Sure the gore and make-up effects are solid but they alone would never have carried the film off into the land of cult classics. As if the lousy acting and poor plot weren’t enough to bring the film down, Bianchi approaches the project as if he could care less about it. The camera is almost always at a stand still and offering up a poorly lit and grainy medium shot of the action. It is clear that a good majority of the film’s budget went to the zombie make-up and gore effects and you can’t really blame Bianchi for wanting to show them off, but after a while, you get the impression that he is just filling out the runtime. Surprisingly, Bianchi does choose a dark path at the end, but he shoots himself in the foot when he stamps a quote over the final image of the film that is riddled with spelling errors. Overall, Burial Ground tries desperately to play to its audience and there are a few moments that are mildly entertaining, but as far as Italian zombie knock-offs go, you’re better off sticking with a Fulci zombie film.
Burial Ground: The Nights of Terror is available on DVD.
by Steve Habrat
If you’re someone who enjoys entering the sleazy land of blood, guts, and gore, certainly you’ve heard of the West German film Mark of the Devil, a film that was advertised as “positively the most horrifying film ever made.” Released in 1970 to cash in on the success of the 1968 Vincent Price classic Witchfinder General, Mark of the Devil never even comes close to living up to its famous tagline. No, in fact there is barely a scare to be found in this stomach-churning tale of the European “witch-hunts” in the 18th century. Mark of the Devil does however live up to its reputation of being extremely violent, with prolonged scenes of torture that will make every grindhouse cinema fan beam. One would hope it would live up to its gory reputation, as Mark of the Devil is the only film to be (hilariously) rated “V” for violence (Personally, I think an X-rating is still more hardcore than a V-rating). A gimmicky rating apparently wasn’t enough, as Mark of the Devil also came with barf bags for the weaker stomached audience members, much like Lucio Fulci’s 1979 gross out Zombie. Despite all these wild taglines and marketing gimmicks, Mark of the Devil really isn’t that strong of a film. Sure the torture scenes are sickening enough, but a minor exploration of religious hypocrisy, a dreary ending, and a captivating performance from young genre-favorite Udo Kier are really the only postives this film has to offer. Well, there is also the famous tongue yanking sequence that will make you yelp.
Set in 18th century Austria, a vicious witch-hunter called Albino (Played by Reggie Nelder) has been abusing his power and terrorizing the small town he has been assigned to. After raping a caravan of nuns, the grand inquisitor Lord Cumberland (Played by Herbet Lom) and his young apprentice, Count Christian von Meruh (Played by Udo Kier), come to the town to relieve Albino of his duties. Shortly after their arrival, Christian falls in love with a beautiful girl named Vanessa (Played by Olivera Katarina), who has been accused of being a witch by Albino after she resists his sexual advances. It isn’t long before Lord Cumberland reveals himself to be worse than Albino, who has also continued to terrorize the locals, but after Christian catches his mentor brutally murdering someone, his faith is shaken and he begins trying to break away from Lord Cumberland. As more and more innocent people are accused of witchcraft, Christian begins devising a way to save Vanessa from horrific torture and death. Meanwhile, the townsfolk are plotting to rise up and fight back against Lord Cumerberland and his bloodthirsty gang of witch-hunters.
Throughout Mark of the Devil, there are moments where the film flirts with the gothic flair of an early Hammer Studios production. You wouldn’t be surprised if Peter Cushing or Christopher Lee emerged from the shadows to consult with Kier, Nelder, or Lom. Unfortunately, director Michael Armstrong never uses the gothic doom to his advantage and instead becomes overly focused on rushing from one torture sequence to another. Sure, they are gruesome enough and I’m sure that at the time, several audience members may have had to put those barf bags to work, but the torture sequences don’t milk any emotion from the viewer. There are a number of secondary characters that are suddenly introduced simply so that they can be stripped of their clothing and whipped, branded, and raped. Trust me, folks, it doesn’t stop there! There is also beheadings, tar and featherings, torture racks, Chinese water torture, people burned at the stake, and even that graphic tongue yanking. The special effects have held up and certainly could run with what we have today, but there were times were the sadism crossed the line into tedious territory.
For hardcore horror fans, it may be worth seeking out Mark of the Devil for some of the familiar faces that drop by to cause bloody mayhem. Kier will easily be the most recognizable face, and probably the most pleasant one (at least for the female viewers) next to Katrina’s. The young Kier certainly does a good job, but there are moments where he seems to be taking the project entirely too seriously. There is really no dramatic break from his mentor and in the final moments, he is asked to become a macho hero in the thick of a hectic mob. Katrina’s role begins to reek of a simple damsel-in-distress, but she puts her all into it. You will also get the sneaking suspicion that Armstrong enjoys showing off her curves. Then there is the vile Nelder and Lom, both of who do a solid job at making you dislike them. Nelder hisses and snarls his way through Albino, a man who just loves stomping through the town’s streets and accusing everyone he sees of being a witch. He is about as nasty as they come and frankly, I would have loved to have seen more from him. Then there is Lom, the impotent grand inquisitor who manages to be worse than Albino. He constantly explains that he is doing the Lord’s work, but his delusions have blinded him to the fact that he is the true monster, one that slips away to terrorize another day.
Mark of the Devil does threaten to explore religious hypocrisy, especially with the character of Lord Cumberland, but this exploration is far from complex and it certainly is never elaborated on. Cumberland claims to be a man of God, but then turns around and murders or rapes anyone who dares challenge him. Some man of God! Yet it becomes increasingly clear that Armstrong isn’t really interested in trying to make the viewer think, he just wants them to cheer along as one-dimensional characters are reduced to quivering bloody pulps. Bursting forth from the sea of blood and filth is a beautiful score conducted by Michael Holm, a soothing tune that could very well have inspired the Riz Ortolani’s hypnotic score for the grindhouse shocker Cannibal Holocaust. You can’t help but think the music was conducted for another film but somehow ended up in here. Overall, on a very basic level, Mark of the Devil is entertaining enough, but too often it is dull, repetitive, or just plain goofy. The poor dubbing alone will keep you giggling and some of the overacting, especially from the background characters, is flat out painful to watch. Mark of the Devil is immensely popular among grindhouse fanatics, but it failed to win this exploitation fan over.
Mark of the Devil is available on DVD.
by Steve Habrat
In 2007, Quentin Tarantino and Robert Rodriguez introduced mainstream audiences to exploitation cinema or “grindhouse” cinema with their sleazy double-feature experiment Grindhouse. Their experiment failed to resonate with audiences, at least at first, but in the wake of Grindhouse, there was a growing interest in exploitation cinema from the mid 1960s until the mid 80s. Glorifying sex, violence, and depravity, “grindhouse” movies were “ground out” in dingy old movie palaces or rickety drive-in theaters while a wide range of colorful audience members smoked dope, pleasured themselves, mugged other audience members, heckled the screen, and relieved themselves in soda cups to avoid a trip to the creepy bathrooms. Ranging from spaghetti westerns to European zombie movies to cannibal films to blaxploitation flicks to all out pornography, exploitation had many forms and a good majority of them were absolutely awful. However, there were more than a few stand outs that managed to hold up over the years and earn respectable cult followings. So, without further ado, here are Anti-Film School’s ten best grindhouse films of all time. Take comfort in the fact that you can watch them in your own home, far away from the junkies of 42nd Street!
WARNING: EXTREMELY GRAPHIC IMAGES
10.) I Spit on Your Grave (1978)
Israeli director Meir Zarchi’s stunningly graphic rape/revenge flick has become one of the most infamous grindhouse films ever made. The film notoriously enraged critics upon its release and even caused Roger Ebert to write one of the most scathing film reviews of his career. I Spit on Your Grave is trashy, sleazy, mean, brutal, and harrowing, with plenty of sex and violence to fuel a dozen exploitation pictures. So what makes it so awesome? Folks, when this poor woman unleashes her fury, it will have you simultaneously cheering her on while covering your eyes and reaching for the barf bag. I Spit on Your Grave was remade in 2010, but the polished presentation and evidence of a studio budget failed to pack the punch of the gritty original.
9.) The Texas Chain Saw Massacre (1974)
Tobe Hooper’s The Texas Chain Saw Massacre is one seriously scary movie. Believe me, folks. It may also make you want to take a shower, become a vegetarian, and never go anywhere near the Texas border. Wielding a nerve-frying sense of realism, this grim and grimy tale about a group of young friends who come face to face with a family of murderous cannibals led by Leatherface was inspired by the heinous crimes of real life serial killer Ed Gein and famously spooked the horror-hating critic Rex Reed. Surprisingly, Hooper adds little gore to the mayhem and instead relies on the thick Texas heat, dilapidated brans, abandoned meat packing factories, and rusty family-owned gas stations to keep us on our toes. Wait for the final fifteen minuets, with a gut-churning family dinner, star Marilyn Burns screaming herself horse, and Leatherface doing a dance of death in the middle of a highway.
8.) Faster, Pussycat! Kill! Kill! (1965)
Sexploitation king Russ Meyer’s snarling Faster, Pussycat! Kill! Kill! is one of the funkiest films you are ever likely to see. It has just about everything an exploitation fan could want: ass-kicking go-go dancers, drag races, fist fights, big breasts, sadistic backwoods males, and switchblades. It is like a living, berating cartoon that wouldn’t hesitate to rip your throat out. It is precisely this pulpy, comic book touch that makes Faster, Pussycat! Kill! Kill! such an essential grindhouse thrill ride. The action is breakneck, the fights are bone-snapping, the races are smoking, and the go-go dances will have the male viewers hot under the collar. The middle section of the film begins to sag, that I will admit, but the curvy Varla and her no-nonsense attitude keeps the entertainment level as high as it will go.
7.) El Topo (1970)
The film that started the midnight movie craze, Alejandro Jodorowsky’s El Topo is a work that you can’t even begin to fully understand or truly put in words. It’s a spaghetti western that really isn’t a western at all. At times spiritual, at times existential, at times beautiful, but almost always brutal beyond belief, El Topo follows a lone gunslinger named El Topo (played by Jodorowsky) on his quest to confront a handful of cunning warriors lurking out in the desert. At the time of its release, John Lennon and Yoko Ono were very vocal about their love for El Topo, and over the years, it has caught the attention of David Lynch, Peter Fonda, Dennis Hopper, Marilyn Manson, and Bob Dylan. There is no doubt that El Topo will shock, swoon, and appall all who see it, sending the viewers away to discuss and debate the surreal string of images that Jodorowsky springs on them. You truly won’t believe your eyes.
6.) The Streetfighter (1974)
You can’t have a list of the best grindhouse films of all time without including this wickedly savage Sonny Chiba classic. The Streetfighter is a mess in the plot department, but you’re not here to for a mind bending story. No, you’re here to watch Sonny Chiba, who seriously makes the best facial expression ever while throwing down with a sea of bad guys, rip some guys balls off, rip another dude’s vocal cords out, and sock a guy in the gut so hard that he barfs (trust me, there is a hell of a lot more). It’s great and it is even better if you watch it with a group of friends that howl every time someone memorably bites the dust. The Streetfighter ended up being the first film ever to receive an “X” rating for violence and even by today’s standards, it would make most splatter directors blush. It stands proudly as one of the greatest kung-fu films ever made.
5.) Halloween (1978)
Believe it or not, John Carpenter’s icy tale of the Boogeyman in suburbia was indeed a grindhouse movie. Made by an independent studio and on a shoestring budget of $325,000, this terrifying slasher pic is widely considered to be the most successful independent feature of all time. Halloween is the ultimate example of less-is-more and it inspired a slew of holiday-themed slashers that emerged in the wake of its popularity. There is so much to love here, from the spine-tingling score to the seemingly supernatural Michael Meyers, and plenty to give the viewer nightmares for a week. Halloween was followed by a number of sequels, two of which are worth checking out, and a gritty, ultra-gory remake in 2007 by shock rocker-turned-director Rob Zombie. There have been countless imitators, but the original Halloween remains the scariest slasher film ever made.
4.) Ilsa, She Wolf of the SS (1975)
One of the more extreme and sexually graphic films on this list, Ilsa, She Wolf of the SS, was one of the original women-in-prison grindhouse films. Directed by Don Edmonds and shot on the leftover sets of Hogan’s Heroes, Ilsa, She Wolf of the SS has earned its reputation through its borderline pornographic sex scenes, prolonged sequences of torture, its surprisingly serious approach to the silly material, the grim ending, and Dyanne Thorne as the sadistic Ilsa. Seriously, wait until you get a load of Thorne’s Ilsa. If taken for what it is, Ilsa, She Wolf of the SS is pretty entertaining even if you’re constantly closing your eyes or watching with your jaw on the floor. In October, I actually had the pleasure of meeting Dyanne Thorne and she was a gigantic sweetheart even if she was dressed in her Nazi uniform. For those looking to cut their teeth on the savage stuff, make sure you get ahold of the blood-splattered Ilsa, She Wolf of the SS. It is the real deal.
3.) Thriller: A Cruel Picture (1974)
Would you believe that director Bo Arne Vibenius, the man behind Thriller: A Cruel Picture, once worked with Swedish art house director Ingmar Bergman? If you’ve seen Thriller: A Cruel Picture, you probably can’t. The ultimate rape/revenge film, Thriller would chew I Spit on Your Grave up and then spit it out, place a double barrel shotgun to its head, and then blow its brains clean out. The tagline warned viewers that Thriller was “the movie that has no limits of evil” and it really meant it. Following the beautiful young Frigga (played by bombshell Christina Lindberg), who is abducted and forced into a life of drug addiction and prostitution before she snaps and goes on a killing spree, Thriller: A Cruel Picture is about as rough and tough as a motion picture can be. Vibenius unleashes graphic sequences of sexual intercourse (complimented by a shrill static sound effect to make the viewer cringe) and slow-motion shots of Frigga’s tormentors tumbling through the air while gore spills from the bullet wounds. He also gouges the eye ball out of a real corpse. So, do you think you have the stones to go up against Thriller: A Cruel Picture?
2.) Cannibal Holocaust (1980)
Ruggero Deodato’s “found footage” gross-out Cannibal Holocaust was so realistic, that when the film premiered in Milan, Deodato was arrested and charged with obscenity. Certainly not for everyone, Cannibal Holocaust has become the most controversial movie ever made and it lives up to its reputation. Featuring strings of unblinking violence with barely a cut to be found, real footage of animals being killed (this aspect of the film particularly disturbed me), and the most repulsive sex/rape scenes every filmed, Cannibal Holocaust is the film that goes all the way and doesn’t even consider looking back. Believe it or not, Cannibal Holocaust is a shocking reflection of the violence lurking in even the most “civilized” human beings, something you’d never expect from a film that seems content to wallow in depravity. The film sparked a number of copy cat cannibal films that emerged out of Italy throughout the 80s, but none could match what Deodato created. Deodato has since stated his regret in making the film, but Cannibal Holocaust has earned a fairly respectable cult following. It is certainly not for the faint of heart.
1.) Zombie (1979)
Legendary Italian horror director Lucio Fulci has been widely considered to be the “Godfather of Gore” and he certainly lives up to that reputation with Zombie. Released in 1979 and marketed as the sequel to George A. Romero’s zombie epic Dawn of the Dead (the films have no connection), Zombie is about as fun and icky as a zombie film can get. It is gratuitous with its blood and guts as well with its nudity (breasts are flashed for seemingly no reason at all). Zombie certainly lacks the sophistication of a Romero zombie film and absolutely no one expects it to make a profound statement about society, but it does get the zombie action right. Rotten corpses claw out of the grave, freshly infected shuffle through rickety tropical ghost towns looking for victims, a zombie battles a shark (yes, you read that correctly) and ghouls rally together at the climax to infiltrate a bordered up makeshift hospital. And boy, does it feature some nasty looking zombies. A midnight movie of the highest order, Zombie is balls to the wall insanity. Fun Fact: Zombie‘s trailer promised queasy viewers a barf bag with their ticket!
by Steve Habrat
Imitation was the name of the game in Italy from the mid 1960s until the mid 1980s, something that was both positive and negative. Sergio Leone gave birth to the spaghetti western genre in the mid 60s with the marvelous A Fistful of Dollars, a leaner and meaner version of the American western, and Lucio Fulci sent Italy into a zombie craze with his uncompromisingly vicious 1979 grindhouse film Zombie, which was marketed as a sequel to George Romero’s mega hit Dawn of the Dead. It is no surprise that Italy was also enamored with Wes Craven’s grainy rape/revenge horror outing The Last House on the Left. Aldo Lado’s Night Train Murders is Italy’s answer to Craven’s horrifying redo of Ingmar Begrman’s The Virgin Spring, even marketed as the “new Last House” and using The Last House on the Left’s famous tagline, with minor alterations (“You can tell yourself it’s only a movie – but it won’t help”). Many have argued that Night Train Murders is actually a stronger and much more intelligent film than The Last House on the Left, but in reality, the film seems to be preoccupied with its graphic sexual assaults rather than really doing anything fresh or constructive with the story outside of some thin satire and a change in setting. It should also be pointed out that the film is poorly paced and (naturally) shoddily dubbed with eye-rolling dialogue. The only thing that saves the senseless clone is the acting, which is surprisingly strong for a controversial grindhouse throwaway.
Night Train Murders focuses on two pretty college girls, Margaret (Played by Irene Miracle) and Lisa (Played by Laura D’Angelo), who are taking an overnight train from Munich to Lisa’s parents home in Italy for Christmas. While on board, Margaret and Lisa cross paths with two thugs, Blackie (Played by Flavio Bucci) and Curly (Played by Gianfranco De Grassi), who hop aboard the train to avoid being arrested by the police. As they hide from the ticket collector, Blackie attempts to rape a pretty upper class woman (Played by Macha Meril), but is shocked that the woman begins seducing him and enjoying his advances. This promiscuous woman joins the two thugs on their journey, but the train is soon stopped after authorities get word of a bomb on board. The girls decide to hop on another train that guarantees they will reach their destination by morning and allow them to avoid the suspicious Blackie and Curly. As the girls settle in, they are shocked to discover that the two thugs and the woman who pursued them on the previous train are also on board. As night falls and the train cabins darken, Lisa and Margaret become the victims of rape and torture at the hands of Blackie, Curly, and the mysterious woman. As the night goes on, the girls begin to realize that no one is going to be able to save them and they begin wishing for death.
After the slow set up that hangs over the first act of Night Train Murders (the girls flirt with the thugs, Curly plays his harmonica, Blackie has graphic sex with the mysterious woman), director Lado settles in for almost forty minutes of graphic rape and jaw dropping torture that will certainly stir up the casual viewer, but frankly just exhaust the hardened horror buff. The initial first encounters during the lengthy rape sequence are certainly appalling (the deflowering with the switchblade comes to mind), but after a while, you are left checking your watch and wishing that Lado would move on with the story. When we do finally move past the nasty stuff, Lado seems to rush the confrontation between Lisa’s parents and these three sadistic individuals. If you are familiar with The Last House on the Left, you obviously know that the parents cross paths with the thugs and proceed to serve up a bloody plate of revenge. Night Train Murders approaches the sequence as almost an afterthought, and the way the parents figure out what has happened feels forced. When the sparks finally do fly, things do get bloody, but it never reaches the levels of violence that The Last House on the Left reaches. Amazingly, there is plenty of atmosphere during the final confrontation (the billowing fog and the whistling wind do send chills as Lado fixes his camera on a dead body), but the action feels a bit sanitized for a film that seems well aware that it is a knock-off exploitation film. It sadly never achieves the realism that Craven achieved.
For an exploitation film, Night Train Murders does muster some above average performances from its leads. Miracle and D’Angelo are certainly sympathetic as Margaret and Lisa, especially when they realize that there is no hope of escape from these three maniacs. Especially effective is D’Angelo’s Lisa, a virgin who is violated with a switchblade and then left to bleed out. As far as the thugs go, Bucci and De Grassi will make your skin crawl as Blackie and Curly. One is just as bad as the other, the loose cannon easily being Curly, who happens to be an unpredictable junkie with a sinister harmonica. Meril’s mysterious woman (we never do learn her real name), who joins forces with Blackie and Curly, is probably the creepiest character in the film, a seemingly sophisticated upper class woman who conceals her darker interests in porno and smirks at the violence erupting around her in the final moments. It is frightening the way evil is lured out during an attempted rape, a horrific act that she enjoys. And we can’t forget Enrico Maria Salerno and Marina Berti as Lisa’s parents, Giulio and Laura, two more upper class citizens who erupt in quivering carnage even though they state their dislike for violence in society.
At times, Night Train Murders seems to have a bit more on its mind than simply rape and revenge, but the idea of violence lurking in the most civilized human beings seems stale and borrowed, much like the plot itself. The film is effective with its claustrophobic setting (very rarely does Lado’s camera venture out of the train cabin) and the image of a switchblade stuck between Lisa’s legs is certainly something that will not leave your memory any time soon, but the film never manages to sicken like it thinks it does. The middle section just becomes tedious and sadly, boredom begins to set in. It should also be noted that the film packs a beautiful and haunting score from Ennio Morricone, a nice little surprise for the viewer. Overall, if you’ve exhausted your copy of The Last House on the Left and you’ve admired Bergman’s staggering The Virgin Spring, Night Train Murders is worth checking out simply for the slightly different take on the story. However, if you’re an exploitation fan, Night Train Murders will leave you longing for the scummy realism of Craven’s film.
Night Train Murders is available on Blu-ray and DVD.