Posts Tagged With: Splatter

The Gates Of Delirium… Fulci’s CITY OF THE LIVING DEAD on 4k.

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Ol’ Purple Eyes is back…

BD. Arrow. Region B. 18.

City Of The Living Dead (1980), initiating Lucio Fulci’s celebrated “Gates Of Hell trilogy”, was only his second Horror film and clearly evidences the crash course in H.P. Lovecraft recommended to him by co-writer Dardanno Sachetti after their collaboration on that unexpected international box office champ, Zombie Flesh Eaters (1979).

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Evil New England clergyman Father Thomas (Fabrizio Jovine) hangs himself in a Dunwich cemetery, thereby opening the very Gates of Hell (the initial manifestation of which is a bunch of grungey zombies clawing their way out of their graves). All of this is witnessed by psychic Mary Woodhouse (Catriona MacColl) during a drug crazed seance in New York City, resulting in convulsions and her apparent death. Presiding medium The Great Theresa (Adelaide Asti), an authority on The Book Of Enoch, warns the investigating cops that “at this very precise moment, in some other distant place, horrendously awful things are happening… things that would shatter your imagination!” 

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After Mary’s been rescued from living internment by bibulous hack reporter Peter Bell (Christopher George), they set off for Dunwich, intent on closing those Gates Of Hell before All Saints Day, when Hell’s dominion over the Earth will be irreversibly completed. Hooking up with Dunwich psychiatrist Gerry (Carlo De Mejo) and his patient Sandra (Janet Agren), they learn that Theresa wasn’t bullshitting about those “horrendously awful” things, principle among which are the gruesome demises of genre icons Daniela Doria (who vomits up her entire gastro-intestinal tract), Michele Soavi (skull ripped off) and (as misunderstood vagrant sex-case Bob) John Morghen, who gets treated to an impromptu spot of amateur brain surgery by a red neck vigilante. Penetrating the bowels of Dunwich cemetery (and indeed of Father Thomas himself), the surviving protagonists Mary and Gerry save the day… or do they? Your guess is as good as mine, on the strength of COTLD’s proverbially baffling conclusion.

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This film has already appeared in so many editions (several from Arrow alone) that the above synopsis is probably superfluous, though one entertains the hope that it might galvanise some new viewer, in some other distant place, into connecting with the imaginationshattering milieu of Lucio Fulci, much as Alan Jones’ accounts of these films in Starburst magazine galvanised Your Truly, oh so many years ago. What’s important these days, I guess, with each successive reissue, is the quality of both the film transfer and any supplementary materials. Subjecting the negative of a 1980 film to 4k scanning, while shedding further, er, light on the subtleties of DP Sergio Salavati’s handiwork, is arguably an upgrade too far in terms of ramping up screen grain... you pays your twenty quid and you takes your choice. Sound wise, we’re offered the usual language alternatives and a 5.1 option… Arrow’s previous steel box edition offered 7.1 but I’m not certain that my home set up (nor those of most people) extracted any discernible benefit from that anyway… suffice to say Fabio Frizzi’s celebrated score fair throbs from the speakers this time out.

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The pizza girl’s here…

It’s the sheer breadth and depth of its extras that ultimately promote this City Of The Living Dead from a debatable purchase to an indispensable one. You’ll already be familiar with some of those… audio commentaries from Catriona MacColl and John Morghen (the latter moderated by Calum Waddell) and Waddell’s video interview with Carlo De Mejo… from previous editions. The disc is creaking with a veritable cemetery load of cracking new stuff, though… Stephen Thrower’s take on these films is always worth listening to and here he challenges the received wisdom that Fulci couldn’t get a gig after the success of Zombie Flesh Eaters (what’s indisputable is that producer Fabrizio De Angelis was slow to see the possibilities and continued to think small even after he did reconvene with Fulci). For once Thrower’s presentation, as diligently researched and passionately felt as ever, takes a back seat, given the wealth of primary sources testifying on this set. Among the most compelling is a lengthy new interview with Dardano Sacchetti, in which the irascible writer pursues his familiar theme of De Angelis’ short-sightedness while throwing out all manner of interesting insights re what was going on behind the scenes. Never one to hold back on his opinions, it would seem that Signor Sacchetti is not the biggest fan of Catriona MacColl. 

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“Oui, whatever…”

MacColl herself is duly interviewed, sounding a lot more French than I remember from my own encounter with her (then again that was nearly 25 years ago and she’s spent the intervening quarter Century living in Paris)… interesting  to hear that when she wasn’t being buried alive and showered with maggots, Catriona was required to dub and scream over multiple takes of the same shots, prior to the definitive editorial decisions being taken. 

Camera operator Roberto Forges Davanzati talks, among other things, about the difficulties of making sunny Savannah, Georgia look like an autumnal New England location, neatly illustrated by his private “behind the scenes” 8mm footage, for which he also supplies an audio commentary. Production designer Massimo Antonello Geleng also talks about “the Savannah problem” and his own difficulties breaking the ice with Fulci, after having been parachuted in by producers Medusa over the director’s original pick, Massimo Lentini. Fulci’s misgivings were predictably assuaged by Geleng’s amazing work on this picture.

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Cinematographer Sergio Salvati clearly loved Fulci but acknowledges and regrets the director’s sadistic treatment of some of his actresses… also his overuse of the zoom lens. As an unexpected bonus, Salvati supplies some fascinating incidental revelations about how The Beyond’s stunning denouement was contrived, against all the odds, in the face of producer De Angelis’s constant budget cutting.

Giovanni Lombardo Radice / John Morghen (these days sporting a beard of Biblical proportions) reiterates that he never had any problems with Fulci but confesses that he’s never been able to watch Daniela Doria’death scene all the way throughGino “Bombardon” De Rossi talks us through that and several other of his gory FX tours de force for City Of The Living Dead et al. He also mentions the prank played on Fulci, referenced by several of the participants in these featurettes, by which maggots were placed in the ol’ goremeister’s pipe. De Rossi initially got the blame for this, but turns out the culprit was actually Christopher George, who obviously figured that one good maggotty turn deserved another.

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Father and son acting team Venantino and Luca (“Jon Jon”) Venantini recall their experiences on the picture, which have become somewhat sanitised in the telling, compared to the version they offered in Mike Baronas’ documentary Paura: Lucio Fulci Remembered. Venantino, clearly still very much a character in his late ’80s, now resembles an over-baked spud. Luca’s obvious love and concern for his dad make for touching viewing. There’s also a previously unseen interview with Fulci’s go-to OST man Fabio Frizzi, who suggests that Fulci’s personal sufferings made him a person of substance.

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Fulci fan boy Andy (Ghost Stories) Nyman, though obviously not a member of the inner circle, recounts his encounters with Giannetto De Rossi and Richard Johnson in appropriately enthusiastic style and the ubiquitous Kat Ellinger contributes another of these here video essays, concerning Fulci and his seminal role in the busy Italian zombie cycle.

Among the more predictable extras are the alternative US “Gates of Hell” credits sequence and assorted trailers and radio spots. The extensive image gallery features over 150 stills, posters and other ephemera from the FAB Press and Mike Siegel archives. You also get reversible sleeve options (choose between Charles Hamm and pals in all their original glory and newly commissioned artwork by Wes Benscoter), a double-sided fold-out poster and 6 lobby card reproductions. As usual we HOF drones haven’t set eyes on that stuff yet, nor the limited edition 60-page booklet featuring new writing by Travis Crawford and Roberto Curti, an archival interview with Fulci and contemporary reviews.

Just make sure you grab your copy before All Saints Day, or there’ll be Hell to pay…

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Where Is Thy Sting? ZOMBI 4 On Severin Blu-Ray.

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BD/CD. Severin. Region Free. Unrated.

“If you want to open the door to Hell today, these four words you must say…”

“Why are you stopping at the best part?”

The Fulci / Mattei / Fragasso Zombi 3 (1988), recently reviewed in these pages, wasn’t the only Latin living dead epic laying claim to that title… Andrea Bianchi’s astonishing Burial Ground / Zombi Terror / Nights Of Terror (1981) got there first and Jorge Grau’s even more prodigiously multi-titled Living Dead At The Manchester Morgue (1974) was at one point, via some inscrutable worm hole in the space / time continuum, deemed to be a sequel to a George Romero film made five years after it. Romero was presumably happy enough with his own “Dead” series and anyway, Dawn Of The Dead co-producer Dario Argento’s attempts to quell the flow of ersatz sequels fell at the first legal hurdle, with Lucio Fulci’s Zombi 2 (1979). Thereafter Fulci’s participation in the Guadenzi-produced Zombi 3 granted that film and its successors some kind of “official bootleg series” imprimatur, right up to Claudio Lattanzi’s Killing Birds (1987) being rechristened Zombi 5. Thankfully, we’re not concerned with the last-named clinker this time out, turning our attention instead to Fragasso’s Zombi 4, originally released (in 1989 according to IMDB, though this is disputed) as After Death (“Oltre La Morte”).

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For this one Fragasso, again masquerading as “Clyde Anderson”, was back in the Philippines with a specific brief to come up with something that might recoup the losses that producer Franco Guadenzi had sustained on Zombi 3. Already disenchanted with his experiences on that one and 1980’s Zombie Creeping Flesh / Virus (which he had conceived as a reworking of Dante’s Divine Comedy, only for it to turn out more like a feature-length, gored-up episode of The Goon Show), he was desperate to finally put his stamp on the zombie genre but inevitably came up against the usual under-resourcing (with only acrobatic Filipino extras and psychotropic banana liqueur in plentiful supply). His access to cameras (and indeed, DP Luigi Ciccarese) was restricted to night time because Bruno Mattei was using them to shoot one of his Strike Commando movies during the daylight hours. History predictably promptly repeated itself and Fragasso concluded principal photography with a Zombi 4 that was, like its predecessor, significantly short of feature length.

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The sore thumb prologue that was subsequently shot on an Elios studio soundstage is successful at bumping up the film’s running length to respectable proportions, less so at explaining WTF is going on and why. It involves a team of Western cancer specialists (naturally turned out in military fatigues and armed to the teeth) confronting a voodoo priest who has just conducted a black magic ritual that climaxed with his wife being sucked down into to Hell. The boffins are here to provide a rationalist, humanitarian alternative to such superstitious practices, so naturally their enlightened response is to blow the voodoo dude away with blazing machine guns. He’s already threatened to “persecute you after my death… I’ll come looking for you, to feed on your intestines!” and he wastes no time making good on his promise. His wife also pops back up from Hell, made up exactly like one of Lamberto Bava’s Demons and spitting green goo with great gusto… clear so far?

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If this outlandish, spastically directed introduction suggests that Fragasso had gone native, imbibing the heady influence of Philippine and Indonesian indigenous horror product (H Tjut Djali’s Mystics in Bali from 1981 springs to mind), as soon as every cemetery on the island has disgorged hordes of shrouded, bloodthirsty zombies the subsequent narrative settles into a series of more familiar tropes… “The dead will feed on the living”… “It’s not Tommy, he’s one of them, now”… all present and correct. We get the zombies warded off with a wall of fire, the crazed military man who loses it and jumps into the midst of the living dead, the little blonde girl who survives the opening massacre…with the novel twist that this one doesn’t turn up in the jungle twenty years later as the glamorous queen of the tribe that has adopted her: this one turns up (in the passable form of Candice Daly) twenty years later, returning to the jungle to discover what happened to mom and dad. Why she’s accompanied by a couple of Miami Vice refugees and a boatload of Vietnam vets-turned-mercenaries (including the immortal Nick Nicholson from Apocalypse Now and Platoon, looking like Al Cliver’s less couth kid brother) is something that larger brains than mine are going to have to figure out… ditto, why gay porn icon Jeff Stryker (billed here, marginally more believably, as Chuck Peyton) is wandering around equally aimlessly in the jungle with Massimo Vanni and some bird.

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“It’s not Tommy… he’s one of them now!

There are incidental laughs to be had from an arcane “Book of the Dead” that was clearly knocked up by the props department about two minutes before it appears on screen, and a “Third Gateway to Hell” (ulp!) which is rendered by the budget-scrimping spectacle of several while candles arranged in a circle (dunno about you, but I’m shitting myself…) The film’s pulsating AOR score (which was included in my copy as a bonus disc) is supplied by Al Festa of Fatal Frames infamy and dear old Al could himself conceivably have played a part in Zombi 4’s hysterical “climax”, in which Daly sacrifices herself (apparently by pulling out much of her hair and one of her eyeballs) to stem the rising tide of undead, while Peyton / Stryker is ravished by some voodoo dude’s fist…

Jeff's Action Figure.jpgChuck / Jeff (who apparently secured this role on account of actor-turned-casting director Werner Pochath’s infatuation with him) gets his say in the extras and comes across as a very likeable bloke, still optimistic about getting a mainstream break (“I’m still breathing, I’ve still got a shot!”) Good for him. In the meantime, he poses with his anatomically correct action figure (shown in modestly clothed mode, above) and reflects sadly on the premature death, via homicide, of his co-star Candice Daly. She’s commemorated in her own micro-interview slot and you also get some “making of” footage.

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Severin’s BD transfer looks every bit as good as we’ve come to expect and rounding out the extras, Fragasso and his work / life partner Rossella Drudi argue that screen zombies represent the growing immigrant / refugee underclass (well, maybe…) and – more compellingly – that the “fast moving zombie” furrow that has been so lucratively harvested by The Living Dead et al was originally ploughed by them and Umberto Lenzi… whom they eventually concede did it first, in 1980, with Nightmare City.

In certain markets, Nightmare City has been roped into alternatively numbered “Zombi” sequences along with the likes of Joe D’Amato’s Anthropophagous and Absurd, Marino Girolami’s Zombie Holocaust, Tonino Ricci’s piss-awful Panic, and even Jess Franco’s Virgin Among The Living Dead and Revenge In The House Of Usher….

… and still they keep on coming.

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Nature, Pink In Tooth And Claw? CANNIBAL FEROX On Shameless Blu-Ray

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Yes Johnny, he gets off on ecology,

BD. Region B. Shameless. 18.

In the unlikely event that there’s anyone out there who’s unfamiliar with the “plot” of Umberto Lenzi’s Cannibal Ferox (1981)… Lorraine De Selle, Zora Kerova and some bloke head into deepest Colombia in search of  evidence to support De Selle’s  academic thesis that Third World cannibalism is “bat shit”… i.e. fake news, disseminated to further the agenda of wicked western corporations and ideologically unsound imperialists. The following hour and a half establishes pretty conclusively just how wrong she was on this score, but the film ends – SPOILER ALERT! – with her safely back in the Groves of Academe, presenting her thesis as proven, having decided that the locals were driven to avenge themselves on “Naughty Mike” (as Giovanni Lombardo Radice refers to his character), who came to the Amazon basin on his own search for emeralds and cocaine and, having overindulged in the latter, tortured and killed the natives in an effort to find those elusive gems.

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The most notorious Gino De Rossi special effect in this former “video nasty” reminds me of a very non-PC joke about two hippy chicks… though I couldn’t possibly repeat it in polite company. Women being strung up by hooks through their breasts… a native having his eye prised out with a knife… sexualised violence… a woman being kicked in the head… disembowelment… cannibalism… the machete amputation of John Morghen’s penis (then hand) and the slicing open of his skull so that natives can feast on his coke-crazed brain… all of this was removed from Replay’s “soft” VHS version, to which the BBFC awarded an unofficial ’18’ certificate in September 1982 (which proved to be a pretty pointless exercise for all concerned, as both versions subsequently ended up on the dreaded “nasties” list). The BBFC take a relatively relaxed view of such simulated splatter shenanigans these days but there is, of course, another outstanding issue with Ferox and its cannibal kin…

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Animal wise, the “soft” version forfeited such Mondoesque moments as the dismemberment of a live turtle, snakes eating and attacking coatis and lizards, a monkey falling foul of a hungry jaguar, natives gutting and eating a crocodile and most of the scene in which Morghen’s character, a propos of nothing in particular, stabs a small pig to death. “Do you get off on ecology, huh, twat?” he asks Lorraine De Selle when she censures him for this gratuitous act of butchery. Well yes, she did… and as we have seen, the BBFC entertain serious reservations about such conduct, too. By 2001 the Board were certifying all manner of ex-“nasties” and other betes noirs of the departed James Ferman’s tenure, but before Vipco got the nod for a VHS / DVD release they were required to make an additional excision to the animal violence, i.e. “six seconds of a tethered small animal banging against the side of a jeep”.

The BBFC are legally obliged to take account of The Cinematograph (animals) Act of 1937 and the Animal Welfare Act (2006) but in the intervening years there’s been serious disquiet about the content of Italian cannibal films, even among hardened gore hounds and much dispute on social media forums about ethical vs authentic versions of them.

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Make them die within the provisions of the Cinematograph (animals) Act of 1937…

And so, following in the wake of such recent Shameless releases as Ruggero Deodato’s “preferred” version of Cannibal Holocaust and what Sergio Martino describes as an “improved” Mountain (formerly Prisoner) Of The Cannibal God, here comes Cannibal Ferox redux. While Deodato and Martino seem to entertain genuine misgivings about some of the things they’d gotten up to half a lifetime previously in South East Asia and up The Amazon, you suspect Lenzi didn’t really give a monkey’s cranium for animal rights, happily agreeing to anything that would squeeze a few more dollars out of a film that, it’s common knowledge, he despised.

So, what’s in and what’s out? Natives chewing on butterflies and live larvae are here, because the relevant legislation only applies to vertebrates. Ditto the skewering and stamping on of spiders. Because “quick clean kills” are not legally prohibited, you get the decapitation of a turtle that the natives are preparing for supper and the BBFC have deemed the thrashing around of what’s left of the unfortunate critter to be “a post mortem nervous reaction, akin to a headless chicken running around a farmyard”… and equally revolting. There still seem to be shots of that “tethered small animal banging against the side of a jeep” and although the subsequent scene of said Coati being attacked by a large snake has been re-cut to eliminate the actual kill (remaining footage runs in slo-mo to maintain the film’s 93 minute running time) you still see its desperate attempts to avoid capture, which is pretty distressing stuff. There are further abridgements to a jaguar killing and dragging a monkey off into the foliage, natives gutting a small crocodile and the notorious pig stabbing scene in which Signor Radice / Morghen refused to participate. A clumsily contrived and totally gratuitous snake / lizard fight-to-the-death has completely gone, the narrative proceeding at this point straight to Johnny’s big seduction scene (“I had you nailed down the minute I saw you…”, etc) with Zora Kerova.

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So there you have it. A Cannibal Ferox that’s sufficiently compliant with the law to piss off completists but is still unlikely to persuade Morrissey to trade in his A Taste Of Honey DVD to get a copy…. this might prove to be one of Shameless’s most divisive releases yet.

Extras-wise, Lenzi and a heavily bearded Lombardo Radice continue their war of words from beyond the grave… Lenzi’s, anyway (his interview here is possibly the last one he ever recorded). A comparison feature shows how much better the 2K scan of Ferox’s 16mm negative looked after colour correction. The results are pretty grainy but Shameless argue, with some justification, that this is better looking and more authentic than certain other releases, with their “blingy shimmer” of Digital Noise Reduction. Whatever, if you pre-order this one (and there’s still time to do so as I post this) you get a barf bag into the bargain, all the better to turn you lounge into a 42nd Street grind house for an hour-and-a-half… but no monkey spanking, OK?

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“What cannibalism?”

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“It’s A Very Nice Book… Very, Very Interesting!” Stephen Thrower’s Fulci Tome BEYOND TERROR Recast In Truly Epic Proportions

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Blessed is he who approaches in search of knowledge…

Beyond Terror – The Films Of Lucio Fulci by Stephen Thrower. FABPress. H/B. ISBN 9781903254844

Given the dispiriting circumstances of his personal encounter with Lucio Fulci (detailed  for the first time herein), Stephen Thrower’s magnificent Beyond Terror – The Films Of Lucio Fulci emerged as a veritable phoenix from the flames when first published by Fab Press in 2000. Two decades(ish) later, pains-takingly revamped and thoroughly revitalised (“120 new pages… 80,000 words of all new writing!”), it now soars to peaks only previously occupied by Tim Lucas’s Mario Bava meisterwerk All The Colors Of The Dark.

Thrower is a thoughtful and passionate writer (there can’t have been too many reviewers of The House By The Cemetery who concluded their appraisal with a line like: “In a subtle way, the end is just as terrible a trap for Bob as it was for John and Liza in The Beyond; he’s returning forever to a house that can never be home”) so I’m looking forward to acquainting myself over the coming weeks and months with the ways in which his takes on various aspects of Fulciana have evolved. Most obviously, though, the updated version comes with completely new sections and gives a thorough going-over to stuff that was only hinted at, first time out.

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The hugely expanded survey of Fulci’s comedies is very welcome (though for me, personally, there’s more than a trace of “he watched them so I don’t have to” wrapped up in this welcome). Similarly, the new section on Fulci’s sound track composers is impressive stuff, though I believe Keith Emerson’s contribution to Murder-Rock merits more than the dismissive brush off it gets here (these things ultimately boil down to personal taste, of course and I freely admit that my position on this subject has always been – very much – the minority one). While I’m quibbling, I wonder about the relevance of Julian Grainger’s filmographies of all the major players in Fulci’s films – an undeniable feat of scholarship and gluteal fortitude – in the age of IMDB, although no doubt there are those who’ll find use for it. It goes without saying that the revamped BT is stuffed to bursting with more colourful, rare and distressing stills, posters and behind-the-scenes shots than you could comfortably shake an eye-poking stick at.

There’s a mouth-watering round up of (thirty!) Fulci projects that were mooted but never made and Thrower’s access to the BBFC’s archives yields fascinating insights into the thought processes of those tasked with cutting or denying certification to Fulci’s films at a time when such matters were virtually equated with national security. Hm, I wonder which film occasioned them the most consternation…

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It says “Exit”, Alessandra… do not entry!

The addition (to the special edition) of an interview with LF is a nice touch though (to paraphrase Mandy Rice Davies) I would say that, wouldn’t I? Said special edition also comes in a beautiful wraparound reproduction of The Beyond’s Book Of Eibon (which, regrettably, doesn’t burst into flame to the accompaniment of Fabio Frizzi music after you’ve read a couple of particularly portentous passages… no doubt Stephen and Harvey Fenton are working on that for a possible third edition) and with a DVD collection of trailers for 37 of Fulci’s 54 directorial credits. If that’s not enough for you (hard to please, huh?) there’s the option to run them with a commentary track by the author and an accompanying booklet throws up whole new and bewildering vistas of ultra-specialist film studies, detailing the use of alternative trailer takes from the ones that actually made it into the movies and offering glimpses of scenes that were abandoned altogether.

This is film scholarship run wild and we’re all better off for it. Do you wanna buy the book? If not, you’re probably reading the wrong Blog. If so, Save yourself twenty years or more of angstily anticipating some future edition. Get it while you can.

Woe be unto him who acts the tightwad over this…

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Mace liked it so much, he went out and got ink…

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How To Carve A Turkey… Herschell Gordon Lewis’s BLOOD FEAST / SCUM OF THE EARTH Reviewed

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That’s it, we read about her

BD/DVD Combi. Region B/2. Arrow. 18.

About a year ago, Arrow’s monumental, long-gestated “Feast” box set was released in the immediate aftermath of the death of the cinema maverick whose work it celebrated so lavishly – Herschell Gordon Lewis. Earlier this year, the announcement of an Arrow collection of George Romero’s non-zombie films coincided with that iconic director’s demise. John Carpenter could be forgiven for anticipating the label’s upcoming Blu-ray release of The Thing with a certain amount of trepidation and David Cronenberg might well be anxiously checking their re-release plans for a whole raft of his titles…

Now that Arrow have started dismembering that Feast box for discrete releases of selected HGL epics that will better suit the pockets of more penurious punters, where better to start than with Blood Feast (1963), the oldest film to make it onto the dreaded “video nasties” listings and widely acclaimed as “the first splatter movie”? Widely, but not universally acknowledged… other contenders have been put forward for this laurel, notably Mario Bava’s Black Sunday but while Bava’s film has plenty of other things going for it (cinematography, atmosphere, Barbara Steele, for example) Blood Feast remains an unrepentently one trick, plasma-drenched pony… it’s all about the Gore.

It’s certainly not about the plot…

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The film opens (to the accompaniment of “tragic kettle drums”!) with a blonde lady (Sandra Sinclair) being attacked in her bath tub by crazed Egyptian exotic caterer Fuad Ramses (Mal Arnold)… don’t you just hate it when that happens? The Daily Chronicle’s infamous headline acknowledges one small step for Fuad in his quest to invoke the Goddess Ishtar but a giant leap for screen gore (not to mention a faltering hop for Ms Sinclair). Striking again while the iron is hot, Ramses goes beach-combing and beats out the brains of some cutie out spooning under the stars with her boyfriend. When questioned by the police, this guy really starts chewing the scenery, pulling faces and wailing “She wanted to go home! She wanted to go home!” over and over again as he meditates on the wages of sin.

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Ramses’ third victim has her tongue (actually that of a sheep) pulled right out of her head. Lewis says of Playmate Astrid Olsen: “She was quite adequate for the role – her mouth was big enough to hold this sheep’s tongue and several others!” Connie Mason (another ex-Playmate, who was cast because of producer Friedman’s infatuation with her toothy smile) is a member of the same book-club as the amputee in the bath and also attends lectures on Ancient Egyptian cults. “You know I’ve always been interested in Egyptology”, this obviously empty-headed girl tells her boyfriend Pete Thornton (Bill Kerwin), who just happens to be a detective, in fact one of the extremely slow-witted cops on the case of the demolished girls.

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Another (un)fortuitous “plot”-twist has Connie’s status-seeking mother (Lyn Bolton) hire Fuad Ramses to provide something really exotic for Connie’s birthday party. Little does she know that this is to be the “Blood Feast’ of the title. With a tongue, a brain and a leg, Fuad obviously has the makings of a serviceable Goddess already, though precisely which bits of Connie’s anatomy he plans to filch are left to our imagination. Although an ace Egyptology student, Connie just doesn’t realise what peril she’s in as the machete-wielding exotic caterer persuades her to lie on the kitchen table with her eyes closed. Just as he is about to deliver the coup-de-grace, the cops, for whom the penny has finally dropped, burst in and save Connie. Ramses is pursued across the city dump and expires in a garbage crusher. “He died a fitting death for the garbage he was” intones Detective Thornton, neglecting to add that his fate also provides a perfectly appropriate ending to cinematic garbage such as this.

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Lewis himself always conceded that Blood Feast wasn’t very good. “We don’t want it good, we want it Thursday” was the philosophy of producer Dave Friedman (above), but HGL did insist on its historical importance as the first of its kind… like Walt Whitman’s poetry, argued the former English lecturer at the University of Mississippi. Although this claim to primacy is, as we have seen, debatable, Blood Feast’s massive influence over subsequent graphic horror product (just think of how many films have reprised the tongue-yanking gag) and indeed the monied cinematic mainstream is undeniable.

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In the supplementary featurette Blood Perspectives, filmmakers Nicholas McCarthy and Rodney Ascher argue that with Blood Feast, Lewis and Friedman broke down the walls between mainstream cinema and exploitation (“Off the byways and onto the highways of America”, as Friedman has it) and (rather convincingly) for its status as a bona fide slice of crypto social history. HGL himself is brusquely dismissive of any such auteurist theorising in a couple of other featurettes herein, insisting that the aim all along was purely to entertain, gob-smack and sell tickets. Friedman backs him up on this in an archival interview from 1987 and on the main feature’s commentary track.

The gruesome twosome reiterate the oft-aired account of how they embarked on the splatter trail in an attempt to fashion a new USP and keep themselves ahead of the pack after competitors felt emboldened to emulate their exploits in the “nudie-cutie” field. 1963 turned out to be the annus mirabilis in this regard, the year in which Lewis shot Bell, Bare And Beautiful virtually simultaneously with Blood Feast, also finding time to contribute Goldilocks And The Three Bares and Boin-n-g. “I felt the nudie cycle was going in the wrong direction…” he recalled: “There are only a certain number of ways you can show girls playing basketball!” (indeed, Boin-n-g probably remains the definitive statement on this aspect of the human condition). In the very same hyperactive year, Lewis and Friedman inaugurated the “roughie” with Scum Of The Earth, which is (you lucky people!) crammed onto this disc as yet another extra.

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Lewis’s final monochrome film (with the exception of one hand painted frame at its suicidal climax), Scum Of The Earth tells the tawdry tale of innocent young ladies being drawn into a world of pornography and blackmail by the lure of easy money. Sinister porno king-pin Lang (Lawrence Wood), sadistic Ajax (Craig Maudslay, the guy who trash compacted Fuad Ramses) and sleazy snapper Larry (played by Mal Arnold, though described as “a minor”… in what possible parallel universe?) are out-and-out misogynistic bastards, whereas photographer Harmon (Bill Kerwin) and model / procuress Sandy (Sandra Sinclair, whose bath time routine was so rudely interrupted in Blood Feast) wring their hands about the racket they’re in but carry on regardless, getting – much like the viewer – to have their cheesecake and eat it. After the correct moralistic ending to this perversely enjoyable melodrama, a stern voiceover warns us that: “For every girl who escapes the trap, another falls into it. Only an alert society can save us from those who prey on human weakness… the scum of the Earth!” What kind of low-life, indeed, could draw a sweet lil’ thing like Allison Louise Downe into a net of fleshy depravity? Ask her then husband… Herschell Gordon Lewis (he describes her on the Blood Feast commentary track as “a crew member” so draw your own conclusions as to how the marriage worked out).

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Bill Kerwin lures the lovely Allison Louise Downe into a life of vice…

Additional extras include outtakes, trailers (also for Lucky Pierre, Goldilocks & The Three Bares and Bell, Bare And Beautiful) plus a hysterically sincere theatre announcement / warning to the faint hearted. Bill Kerwin fans are also treated to the promotional short Carving Magic (1959), in which Martha Logan (the Nigella Lawson of her day) coaches Kerwin in how to tackle the Sunday joint. You might learn something about meat carving here but don’t expect too many laughs from this allegedly humorous effort…. Sgt Bilko it ain’t!

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Bill Kerwin (left) demonstrates a bit of Carving Magic to Harvey Korman.

I’ve often babbled on in these and other pages about the swings-and-roundabouts aspect of Blu-ray upgrades. If you’re the kind that habitually regards his or her tumbler of J&B half full, you’ll appreciate the hitherto unguessed at cinematographic subtleties that are revealed to you thereby. If you’re of the “half empty” persuasion, then you’re gonna rue the consequent increase in grain. It hardly matters, anyway… if you keep on drinking J&B, at some point you’re going to be stabbed to death by a loony in a leather trench coat, right? So what’s the diff? As it happens – and against all my expectations – Blood Feast, for all its 54 years, looks just fab on Blu-ray, a medium that could have been conceived specifically to showcase its lurid comic strip aesthetic. If you still harbour memories of discovering Lewis’s magnum opus on some nth generation video dub, you’ll certainly appreciate the job Arrow have done here. Splendid stuff.

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