1973 in Film – Missile Test

Lo spettacolo dell'orrore italiano: Lisa and the Devil

Lisa and the Devil, the 1973 film from Italian auteur Mario Bava, has become one of his more renowned films in the last couple of decades. I first saw it around twenty years ago with a roommate who was watching it for her film class at NYU. Upon release, though, it was a butchered product, with a framing story shot and added after Bava delivered his cut. Of this film, which had been released under the title of La Casa dell’esorcismo (House of Exorcism), Bava said, “La casa dell’esorcismo is not my film, even though it bears my signature. It is the same situation, too long to explain, of a cuckolded father who finds himself with a child that is not his own, and with his name, and cannot do anything about it.”

That’s some pretty strong language. But, he wasn’t referring to the film that was eventually released as Lisa and the Devil. He was referring to a cobbled-together mess insisted upon by the film’s producer, Alfredo Leone, who wanted a whole bunch of exorcism-related material added to an already completed film in order to cash in on William Friedkin’s Exorcist. This year’s Horrorshow is not concerned with that movie.

Lisa and the Devil follows Elke Sommer as Lisa, a tourist who gets lost in the wandering, narrow streets of old Toledo, Spain. She hitches a ride from a rich, married couple, Francis and Sohpia Lehar (Eduardo Fajardo and Sylva Koscina), and their chauffeur, George (Gabriele Tinti). The Lehar’s old limo breaks down in front of a villa, and they are invited in by the Countess (Alida Valli) and her son, Max (Alessio Orano). In a bit of stunt casting, the Countess’s butler, Leandro, is played by Telly Savalas. Continue reading “Lo spettacolo dell'orrore italiano: Lisa and the Devil”

Lo spettacolo dell'orrore italiano: Torso, aka I corpi presentano tracce di violenza carnale

Viewers of gialli would be hard-pressed to find a film that ticks more of the genre’s boxes than 1973’s Torso, from writers Ernesto Gastaldi and Sergio Martino, with direction by Martino. It has copious amounts of gratuitous nudity, a killer who stalks women, a final reveal of the killer’s motivations that makes little sense, and enough blood and guts that the film bleeds over into the slasher horror genre.

In Perugia, Italy, a killer sets his sights on lovely female students of a local university. The women are stereotypical free spirits of the age; into drugs, sex, and nude sunbathing. They stand out amongst the stodgier parts of contemporary Italian society, not least because their miniskirts reach nowhere close to the knees. Martino seems to take glee in showing the clash between the prudes and the debauched. Continue reading “Lo spettacolo dell'orrore italiano: Torso, aka I corpi presentano tracce di violenza carnale”

October Horrorshow: Horror High

Poor Vernon Potts. He’s the meekest kid in high school. He’s so skinny a stiff breeze would blow him over, he wears glasses (gasp!), wears his hair to hide his face, and carries himself as if he’s cowering from the world. It doesn’t help matters that, besides being bullied by his fellow students, his teachers and staff at his school treat him so unfairly that it could be considered abuse. Finally, the only girl in school who knows Vernon exists (Rosie Holotik) is also dating the star football player (Mike McHenry) who likes to beat him up. Writer J.D. Feigelson and director Larry N. Stouffer lay it on thick for Vernon in their 1973 drive-in horror flick, Horror High. Continue reading “October Horrorshow: Horror High”

October Horrorshow: It Happened at Nightmare Inn, aka A Candle for the Devil

It Happened at Nightmare Inn is something of a travesty. It’s a victimization of what looked to be a fairly decent Spanish horror flick from 1973 called A Candle for the Devil. That film is an 83-minute-long flick about a pair of murderous sisters who run a B&B in a rural village in Spain. It Happened One Night is a 67-minute-long cut of that film with all the juicy bits removed for American television. The cuts are so ruthless that it’s obvious to the viewer that key scenes are missing. So much has been excised that it ruins much of the storytelling, as important plot points are passed over. If at all possible, I recommend potential viewers stay away from the TV cut, unless they are curious to see what happens when a toddler with a pair of scissors is allowed to edit an already finished film.

From screenwriters Antonio Fos and Eugenio Martin, and directed by Martin, Nightmare Inn follows Marta and Veronica (Aurora Bautista and Esperanza Roy), two very Catholic sisters who spend their time judging the lifestyles of their guests. Should a female guest dress scandalously, or stay out late into the evening, there follows a severe scolding and a murder. The two are so holier-than-thou it’s infuriating, and also makes for a compelling premise. Continue reading “October Horrorshow: It Happened at Nightmare Inn, aka A Candle for the Devil”

Shitty Movie Sundays: The Amusement Park

This is the strangest film from George A. Romero that I’ve seen. Perhaps O.J. Simpson: Juice on the Loose has more absurdist kitsch, but I’ll never know.

Originally from 1973, thought lost, then rediscovered in 2017, The Amusement Park was some work for hire from Romero in between making Season of the Witch and The Crazies. Commissioned by the Lutheran Service Society of Western Pennsylvania, the aim of the film was to show the struggles of the aged, and society’s disregard for their plight, through the allegory of the world’s worst amusement park. Continue reading “Shitty Movie Sundays: The Amusement Park”

October Horrorshow: The Werewolf of Washington

Writer/director Milton Moses Ginsberg had something to say about the rot infecting Washington D.C. in the early 1970s. It was the time of Watergate, when the president, the attorney general, and all the rest of the president’s men were a pack of felons working to undermine the rule of law. How times have changed. Ginsberg’s response to the constitutional crisis posed by the ongoing criminal conspiracy that was the Nixon administration, was to make a movie satirizing the president. And he chose to make it a werewolf flick. Continue reading “October Horrorshow: The Werewolf of Washington”

Empty Balcony: Walking Tall (1973)

Joe Don Baker is Buford Pusser, real-life Sheriff of McNairy County, Tennessee, in this violent drive-in classic from 1973. Directed by Phil Karlson, Walking Tall is the fictionalized account of one man’s war on crime in rural America.

After giving up his career as a wrestler and returning home with his wife, Pauline (Elizabeth Hartman), and kids to McNairy, Pusser finds that his home county has been invaded by organized crime. Gambling dens and houses of ill-repute have opened in the once-lazy locale, and Pusser doesn’t hold with any of that. After getting angry and trying to beat up an entire casino, Pusser is cut to ribbons and left for dead on the side of the road. But, the bad folks of McNairy underestimated Pusser’s resolve. Being almost murdered just made Pusser angrier, and he continues going after the criminal element. Continue reading “Empty Balcony: Walking Tall (1973)”

October Hammershow: The Satanic Rites of Dracula

Here we are. October 31^st. Halloween. The end of the October Horrorshow. The final film in this look back at Hammer Film Productions is a departure from type. If there’s one thing I’ve picked up on from watching 31 Hammer films in a row, it’s that Hammer basically made the same film over and over and over again. That’s not negative criticism on my part. Hammer had a style, in the same way that a musician like John Lee Hooker had a style or an artist like Willem de Kooning had a style. Listen to an album or see a painting hanging on a wall and it becomes immediately clear who is responsible. Hammer films followed a theme. They developed over time into something that was very much their own. Towards the end, though, they began to switch things up in search of a new formula. Such is the case with today’s film. Continue reading “October Hammershow: The Satanic Rites of Dracula”

Shitty Movie Sundays: Psychomania, aka The Death Wheelers

Tom Latham thinks that life could only get better if he just kills himself. Turns out, he’s right! Tom (Nicky Henson) isn’t suffering from depression, nor is he a deluded youth who is incapable of processing the permanence of death. He’s the leader of an outlaw biker gang called The Living Dead. They get their kicks by driving mildly quickly on the roads of rural England and occasionally tipping over vendor’s carts at the local shopping center. How dreadfully frightful. But Tom has an idea that can make his little band of nihilists even more of a public nuisance. Continue reading “Shitty Movie Sundays: Psychomania, aka The Death Wheelers”

Empty Balcony: The Offence

The Offence movie poster In the early 1970s, United Artists wanted Sean Connery back in the role of James Bond. Part of the deal that brought Connery back was UA agreeing to finance a pair of vanity projects for Connery, as long as the films didn’t cost much money. The Offence was the first of the pair, and the only one made.

From 1972, The Offence is an adaptation of the play This Story of Yours by John Hopkins. Hopkins was also brought aboard to pen the screenplay, with legendary director Sidney Lumet behind the camera.

In The Offence, Connery plays Detective Sergeant Johnson, a brutal, monster of a cop in England. Lately, the Sergeant and a team of detectives have been investigating the kidnappings and rapes of schoolchildren. The situation has gotten bad enough that Johnson and the others maintain a visual presence at a local school when it lets out, but that isn’t enough to prevent another young girl from being snatched. Later, as the police search nearby woods, it is Johnson who finds the young girl, terrified and laying in the mud, and who has to comfort her. This latest offense is just another in a litany of atrocities Johnson has witnessed in his 20 years as a police officer. His mind has been on the brink for some time, it appears, and after constables nab a suspect, Kenneth Baxter (Ian Bannen), Johnson snaps. During interrogation, Johnson beats the suspect to death, and has to account for his actions. Continue reading “Empty Balcony: The Offence”