directed by o. hellman and r. barrett
a. erre cinematografica, s.r.L.
SUCH a ripoff of The Exorcist (and Rosemary’s Baby) that … oh, God help us, maybe this isn’t fiction at all! Maybe it’s – A WARNING! (In an ordinary horror flick, right about now you’d get some clamorous sounds, maybe piercing strings, I dunno, but herein you get, like, afro-jazz-funk.) You’re not even going to believe this, but I recognized the name of one of the cameraman in the credits, Maurizio Maggi, because he also worked on L’occhio nel Labirinto. Was he the entity responsible for all the double exposures here? How much overtime did the sound guys have to put in to create all the overdubs? That was quite the feat of editing, let me tell you. This foreign-market plagiarism is occasionally almost scary, even.
why did i watch this movie?
Redd Kross is entirely to blame.
It manages to be intermittently entertaining, with scads of bizarre minor details, but mostly due to its utter shamelessness. The dubbed script is of course masterful:
“No doctor can possibly explain her pregnancy.”
“What do you mean?”
“It is not … explainable.”
(Luckily for the devil’s surrogate, her condition arises post-Roe v. Wade, so she is advised by her doctor that she can terminate the diabolic fetus “should we come to the conclusion that your pregnancy creates a definite hazard to your … physical, or mental health.” She demurs, however.)
Oh, and the sound design really is pretty effective.
highlight and low point
When the character named after one of the directors is hassled by a street musician emulating Rahsaan Roland Kirk, well, that’s something you sure don’t see every day. A sequence that transforms the (human) children’s bedroom into a dangerous funhouse is impressive.