Izbavitelj aka The Rat Savior aka Der Rattengott aka The Redeemer (1976)

directed by krsto papić
jadran film/croatia film

A political allegory from Croatia, then situated in the Socialist Federal Republic of Yugoslavia, which won the equivalent of Best Picture in Portugal’s Fantasporto festival in 1982, and which has been noted for being reminiscent to modern viewers of both Invasion of the Body Snatchers and They Live. Set in a failed economy grasping for answered prayers, this is kind of a slow-developing picture, a fact more notable due to its relative brevity; the version I watched ran about 76 minutes, and I’ve seen evidence of versions ranging from two minutes longer to eight. Eventually, however, it reaches its peak, of what is essentially a terrible hopelessness. Based on a story by Russian writer Aleksandr Grin called something like “The Rat-Catcher,” this film ultimately hinges on a similar observation to the terrifying underlying theme of 1984: you can’t trust anybody, especially yourself.

why did i watch this movie?

I don’t have any idea what led me to this one … some rabbit (rat?) hole or other, presumably.

should you watch this movie?

As mentioned, it won’t take up too much of your time, and if you have any interest whatsoever in political themes – or, for that matter, historical ones – yeah, put it on your list.

highlight and low point

This production is lensed in such a way as to mute out its colors, which has the effect of making it appear much older than it actually is. Coupled with the subtitling and the stilted nature of much of the action, it comes across a lot like a silent movie at times, an impression only strengthened by the soundtrack. Locating some of the most important moments of the story in what is purportedly the abandoned “central bank” building is a masterful touch.

rating from outer space: B

La novia ensangrentada aka The Blood Spattered Bride (1972)

escrita y dirigida por vicente aranda
morgana films

Part of the early-to-mid-’70s lesbian vampire movie mini-craze, this Spanish offering is actually a very stylish affair, even as it doesn’t skimp on some more questionable themes or visuals. One of many retellings of important Dracula precursor Carmilla, the tale follows a newlywed couple back to the groom’s palatial ancestral home, where strange occurrences soon are afoot. And at hand. Namely, the young bride begins having eerie, violent dreams that involve a mystery woman she has glimpsed more than once while awake. Her chauvinistic husband is dubious. A doctor who apparently doubles as a detective of sorts is downright dismissive. The caretakers’ strange little girl … is strange. An accomplished piece of art, despite its exploitative carnality.

why did i watch this movie?

It was in my queue for so long, I couldn’t possibly tell you, but at some point I was stockpiling turn-of-the-’70s vampire flicks, so …

should you watch this movie?

“You mean the two women were howling?”
“Mm-hm, like two cats in heat – that’s when I ran away. They sounded … like vampires.”

highlight and low point

Should you need proof of how mores have changed in male/female relationship dynamics since the early ’70s – or, perhaps, seek illustration of the difference between Spain and the USA in terms of attitudes toward such things – you’ll be delighted by how Susan’s new husband treats her. If you’re of a certain bent, you’ll also appreciate her eventual response. If you’re like me, you’ll love exchanges such as this:

“How many times does something have to be repeated before it ceases to be a coincidence?”

“Some cases, twice would be sufficient.”

Performances are very deliberate. Maribel Martín, in her inaugural star vehicle, delectably transforms a moue into a death stare, often.

rating from outer space: B+

Don’t Look in the Basement aka The Forgotten (1973)

produced and directed by s. f. brownrigg
camera 2 productions/century studios

A slowly creeping, thoroughly Seventies sense of the dramatic infuses this tale of mysterious goings-on in a shabby private sanitarium, and although that setup veritably screams “overacting,” the mostly unknown thespians gathered here generally do a pretty good job portraying their variously afflicted characters. Of course, as the action gains momentum, masks begin to slip, until eventually psychoses are on full florid display. Even if one is unaware of the secrets that eventually will be revealed, after just beyond the halfway point the production doesn’t even bother to feign much interest in keeping mum, and from there it’s more or less a matter of seeing how things will be resolved. An unexpected finale may raise some eyebrows, and the final scene is much more poignant than any of the proceedings may have led one to expect.

why did i watch this movie?

It’s a “classic,” is it not? Well, in any case, I’d been hearing about it for as long as I can remember, as it’s one of my brother’s faves.

should you watch this movie?

Didn’t I just say it’s a “classic”? Really, it suggests the transition between a more old-fashioned sense of the horror film and the newer aesthetic to come.

highlight and low point

The first half or so of this picture mainly concentrates on the doings of several of the patients at the hospital, as well as newly arrived Nurse Charlotte’s attempts to get her bearings, and doesn’t suggest a whole lot of structure … although this proves to be purposive, of course. That it overcomes its dubious opening scenes and builds up enough momentum to be affecting is no small feat. Which characters are being referenced is sometimes difficult to decipher.

rating from outer space: B+

Shriek of the Mutilated (1974)

directed by mike findlay
An ed adlum and mike findlay production

Glacially paced, predictable, and of little apparent budget, this feckless outing flaunts its amateur nature consistently throughout its 84 minutes. Ham-fisted edits! Complete disregard for continuity! (Events often appear to take place simultaneously in daylight and at nighttime.) Unconvincing “acting”! Also: what amounts to this film’s signature flair, a catch-as-catch-can wardrobe department. Many reviewers have remarked on the absurd depiction of the flick’s “yeti,” but nowhere near enough attention has been paid to the “Indian” getup sported by the actor allegedly portraying such an individual. It’s also not very difficult to see where all the “action” is heading from very early on, and even the trappings of the wild ‘n’ wacky ’70s that are sort-of hinted at don’t receive enough attention to serve any fascination lo these many years. Ordinarily, this kind of self-financed production would make one wonder how it could have been anyone’s best idea, but as Findlay was primarily a sexploitation provocateur, it’s mostly just surprising it wasn’t more lurid.

why did i watch this movie?

This was another fetching title prompted by Duane Bradley’s Schlock Treatment ebook.

should you watch this movie?

I’d like to think of something pithy to say here, but this picture is just tiresome.

highlight and low point

“This could never be of any use to Tom anymore.”

The acting is pretty dreadful throughout, and the fatuous notions of the secret society presented at the piece’s conclusion don’t make a whole lot of sense. Come to think of it, the major foreshadowing in the script doesn’t make much sense once all is said and done, either. The scenes that randomly switch from daylight to dark are pretty great, and the opening shot is of my alma mater.

rating from outer space: D−

Island of the Fishmen aka L’isola degli uomini pesce (1979)

directed by sergio martino
dania film/medusa cinematografica

This contemplative, philosophical inquiry into the underpinnings of theories of evolution and the turmoil that can result when ruling classes oppose their implications ultimately wrests from its labors a few hard-won victories for what is best labeled “truth.” Hahaha, no – this is an Italian Island of Dr. Moreau crossed with an adventure serial, featuring some FX we’d later see improved by Raiders of the Lost Ark. (Coincidentally, it also features the pursuit of treasure from an ancient land.) Also featured is a voodoo cult, for some reason that either wasn’t provided or to which I wasn’t paying enough attention. Overall, it was a labor to get through this contrivance, but at times it almost approaches B-movie apotheosis. All it lacks is anything interesting or titillating or engaging or exciting!

why did i watch this movie?

I really don’t remember, so let’s presume it was the ridiculous title and Italian origin.

should you watch this movie?

Not unless you have to, which I’d wager is unlikely.

(Note: L’isola was also released for U.S. consumption under the titles “Something Waits in the Dark” and “Screamers,” both of which were altered to some considerable degree.)

highlight and low point

The stock volcano footage is gratifying, as are the obvious miniatures used for various shots such as that immediately above. Other FX are worthy of derision at best – but the “fishmen” themselves aren’t half bad. As is customary, the dubbed dialogue provides many great moments, such as this revelatory soliloquy:

Now I remember! He’s the geneticist who was condemned for his experiments … transplanting animal organs into human beings.

Oh, yeah, him. The above reminiscence leads to the equally appealing accusation, “You’re not a scientist! You’re a madman, an insane criminal!”  Gripe, gripe.

Rating from outer space: c−

La notte che Evelyn uscì dalla Tomba aka The night Evelyn came out of the grave (1971)

directed by emilio p. miraglia
phoenix cinematografica roma s.p.a.

I don’t know about you, but with a title like this one, I found myself expecting a shoddily filmed 76-minute exploitation picture about vengeful undead … so in a sense I was sorely disappointed by this lavish Italian epic of misdirection and aristocratic shenanigans. I was NOT disappointed, however, by the fact that this film delights in trying to live up to the finest tradition of the giallo (the literal translation of which is “doesn’t make a lick of sense”*). But I WAS disappointed that everything resolves itself in a fairly straightforward manner. Of course, at least one major loose end isn’t even addressed, so that redeems matters somewhat. As for Evelyn and her grave, don’t even ask about that. Trust me.

*untrue

why did i watch this movie?

 I was perusing a website from which I download music, and someone posted this extravaganza’s soundtrack. I had to know more, what with the name and all.

should you watch this movie?

Though mildly diverting, it really doesn’t deliver the goods, as it never commits itself enough to do so. Hey, that’s a mild pun, as the storyline concerns the main character’s mental condition!

highlight and low point

Okay, seriously, a really good movie could have been constructed out of this muddle. Unfortunately, that’s not the movie they made. For instance, one or more characters is revealed not to be what he or she seems to be – but these revelations are irrelevant to anything that subsequently occurs. And once all the confabulations are sorted, it’s not unlike any standard episode of any crime or detective drama. Erika Blanc‘s role isn’t substantial enough, although her character’s disreputability compensates somewhat.

rating from outer space: c−

you keep this by your pool, too, right?

Blood and Lace (1971)

directed by philip gilbert
contemporary filmakers/carlin company productions

Had I seen this one before? That’s not a rhetorical device damning this picture for predictability or anything; I kept having a strange sense of déjà vu at different times as I watched it. Boy, this is one sleazy flick – especially given that there’s only one scene of semi-nudity (a purported teenager’s back). What you have here is the tale of a very questionable orphanage, governed by a woman in cahoots with both the local caseworker and her dead husband (well, sorta), ably assisted by a drunken goon played by the guy who would later be known as Seinfeld’s Uncle Leo, dispatching supposedly runaway teens but pocketing their state funds anyway thanks to an overused walk-in freezer in the basement. But then the new girl upsets the applecart, only for it eventually to be discovered that nothing is as it seems! Except for all the things that are exactly as they seem, of course, and perhaps one or more revelations that you may anticipate.

why did i watch this movie?

I have contemplated watching this movie multiple times before, and I cannot tell you why exactly I went ahead with it this time.

should you watch this movie?

While I don’t think one could call this a “classic,” even among the ranks of drive-in throwaways, it’s got a lot going for it.

highlight and low point

Just about every character in this drama is disreputable in one way or another, which makes for a pretty good time. Overall, the story is fairly plausible, even if in an Erskine Caldwell kind of way. The leads – Vic Tayback, Gloria Grahame, Melody Patterson, the aforementioned Len Lesser – are all appropriately sordid. The “blood” is unmistakably red paint.

rating from outer space: b+