6 Trailers For October 2nd, 2022


With Horrorthon underway, it’s time for a special October edition of Lisa Marie’s Favorite Grindhouse Trailers!  Today, I bring you 6 spine-tingling trailers from the 30s and the 40s!  Say hello to old school horror at its best!

  1. Dracula (1931)

First off, here is the original trailer for the 1931 version of Dracula!  Yes, it’s a bit grainy and it’s a bit creaky and …. well, it’s old.  But listen, if I had been around in 1931 and I saw this trailer, I definitely would have been at the theater on opening day.  “Do vampires exist?” the trailer asks.  No, they do not but who knows?  Maybe the trailer would have made me question my beliefs for at least a day or two.

Apparently, the odd scene with Edward Van Sloan and the mirror was taken from an outtake.  The scene itself is not in the film and presumably, that mirror was not supposed to fall off the wall.  Also, it’s interesting to note that Dracula was not a Halloween film but instead, it was released just in time for Valentine’s Day!

2. Frankenstein (1931)

Of course, Universal followed Dracula from Frankenstein.  Again, this is one of the original trailers for the film and not a trailer that was put together and released in later years.  The trailer does, at one point, say, “It’s coming back!,” so I’m assuming that this version was sent to theaters where the film had played previously.  The trailer features a few scenes that were cut from the film and also a few alternate takes,

3. Bride of Frankenstein (1935)

If you have a weak heart …. you better leave now!  The early Universal horror films are not necessarily thought of as being grindhouse films but this trailer is pure grindhouse.

4. The Wolf Man (1941)

In the 40s, Dracula and Frankenstein’s Monster were joined by a werewolf named Larry.  Here is the original trailer for The Wolf Man.

5. Cat People (1943)

In 1943, horror took a new, psychological turn with the original Cat People!

6. House of Frankenstein (1944)

Finally, in 1944, all of the great monster came together.  Before The Avengers, before the Justice League, before the Snyder cut, there was the House of Frankenstein! 

Next week …. more horror trailers!

Horror on the Lens: The Giant Spider Invasion (by Bill Rebane)


For today’s Horror on the Lens we have the 1975 classic, The Giant Spider Invasion!

Directed by Wisconsin’s own Bill Rebane, The Giant Spider Invasion works specifically because it delivers exactly what the title promises.  The title says that you’re going to see giant spiders invading the Earth and that’s exactly what happens!  And, as someone who cannot stand spiders, I can only say, “AGCK!”

This is a fun movie.  Sadly, I don’t think it would be as entertaining if it were made today.  The budget would be too high.  The actors wouldn’t be in on the joke.  The whole production would be more concerned with creating the perfect CGI spider than just having fun with the concept.  For a film like this to work, you need someone who is willing to work with a low budget and you need someone willing to fully embrace the the idea of spiders invading the farmlands of Wisconsin and wrecking havoc, regardless of how silly it might seem.  You need a director like Mr. Bill Rebane.

Enjoy!

October Positivity: Second Glance (dir by Rich Christiano)


“Hey Scotty! Jesus, man!”

This 1992 film tells the story of Dan Burgess (played by David A. R. White, who, years later, would be the center of the God’s Not Dead franchise).  Dan is a high school student who fears that, because he spends all of his time going to church, he’s missing out on all the fun that he should be having.  Dan’s probably right.

Consider this:

The other kids are going to a big party.  Not Dan!

The other kids get to stay out as late as they want.  Not Dan!

The other kids don’t have to deal with two parents and a bratty sister.  Not Dan!

The other kids don’t have to keep their grades up.  Not Dan!

Dan can’t even get a girlfriend, because he’s just such a nice guy!  Of course, the girl from his youth group likes him but Dan wants to date Tamara (Denise Weatherly) and she only goes out with the type of guys who enjoy bullying Dan for being such a do-gooder.

One night, Dan prays that he wishes he had never become “a believer,” which would seem to defeat the purpose of not believing but anyway…. The next morning, Dan wakes up to discover that his bedroom is full of empty beer cans, the neighbors refuse to talk to him, and he now wears a backwards baseball cap.  As well, all of the high school bullies are now his best friends and he’s dating Tamara!  Plus, he’s been invited to Randy’s party!  Who is Randy?  Who cares?  It’s a party.

There’s also a weird guy named Muriel (Blaine Pickett) hanging out in Dan’s backyard.  Muriel explains that he is Dan’s guardian angel.  Everyone in Heaven was really upset by Dan’s prayer so they sent Muriel down to do a little bit of that It’s A Wonderful Life magic and show Dan what the world would be like if he wasn’t a believer.  Muriel also explains that only Dan can see and hear him.  That doesn’t stop Dan from arguing with Muriel and it also doesn’t stop people from seeing Dan apparently talking to himself.  But no one cares because Dan is now one of the popular kids.

In fact, Dan has everything that he ever wanted except …. well, his father seems to be missing.  And so is his little sister.  In fact, it turns out that he doesn’t even have a little sister because his parents got divorced when Dan was younger.  When Dan quite rightfully wonders how it could be his fault that his parents got a divorce, Muriel explains that it’s because non-believer Dan wasn’t praying for them when they were having trouble.  Ouch!  That’s harsh!  That’s also actually pretty messed up and a huge burden to put on the shoulders of those of us who grew up as children of divorce.  I know that when my parents got divorced, I kind of blamed myself and the message of this film is that apparently it was my fault.  Seriously, that’s a terrible message.  If you’re reading this and if your parents are divorced or are in the process of getting divorced, it’s not your fault!

Anyway, Dan learns an important lesson about faith and being impulsive in his prayers.  Soon, Dan is back to greeting his best friend by saying, “Hey, Scotty!  Jesus, man!”  Apparently, enough 90s kids were traumatized by this film that Dan’s greeting has become a minor meme.  That’s the power of film!

Insomnia File #56: Exterminators of the Year 3000 (dir by Giuliano Carmineo)


What’s an Insomnia File? You know how some times you just can’t get any sleep and, at about three in the morning, you’ll find yourself watching whatever you can find on cable or Netflix? This feature is all about those insomnia-inspired discoveries!

If you’re having trouble getting to sleep tonight, you might want to try going to over to YouTube and doing a search for a 1983 Italian film called Exterminators of the Year 3000.  It won’t cure your insomnia.  In fact, it’s such a peculiar film that it will probably keep you awake for the rest of the night.  However, you will be having fun.  Seriously, if you can’t sleep, you might as well have fun.

The film’s plot will be familiar to anyone who has seen The Road Warrior or Mad Max: Fury Road.  Due to a series of nuclear wars, society has collapsed.  The world is an arid wasteland.  Some survivors live in tiny communities.  Others drive motorcycles across the desert and prey on anyone that they can find.  Water is the most valuable commodity in this world.  The second most important thing to have is a good car.  Your car can be the difference between life and death.

Fortunately, Alien (Robert Iannucci) has a good car.  Unfortunately, Alien keeps losing it.  Alien is a wasteland drifter who spends half of the film looking for his car and the other half of the film helping a kid named Tommy (Luca Venantini) search for water for his community.  Tommy has a bionic arm.  When he’s captured by a group of evil bikers led by Crazy Bull (Fred Harris), his bionic arm gets ripped off.  In one of the strangest scenes that I’ve ever seen, Alien use duct tape to reattach the arm.  If that’s not odd enough, it also appears that he accidentally attached the arm upside down.

That’s just one of the many weird details that sets Exterminators of the Year 3000 apart from all of the other Italian Mad Max rip-offs.  There’s also the fact that Alien eventually and somewhat randomly runs into his ex-girlfriend, who looks like a model and, for some reason, is named Trash (Alicia Moro).  Alien and Trash agree to help Tommy but, the entire time, Alien keeps casually suggesting that maybe they should just abandon Tommy and take all the water for themselves.  This isn’t one of those things where Alien is just pretending to be a cynic, either.  The film leaves little doubt that Alien would have no problem just abandoning Tommy and taking the water for himself.  Even if Trash can convince Alien not to sell out the kid, they’re still going to have to fight a group of people who are all dressed like the Black Knight from Monty Python and the Holy Grail.  While Alien and Trash travel to get the water, Tommy gets a new arm that’s so strong that he can literally throw a piece of metal into someone’s forehead even while standing a few yards away.  Tommy also has a gerbil, which is not only cute but, in something of a rarity for an Italian exploitation film from the 80s, manages to survive the entire film.  (Seriously, I instinctively cringe whenever I see a cute animal in an Italian film from the 80s because I’ve seen enough of them to know what’s probably going to end up happening.)

Of course, Crazy Bull and his bikers continually show up and cause trouble.  Fred Harris gives such an enjoyably over-the-top performance that not even the usual bad dubbing can hurt it.  For whatever reason, Crazy Bull refers to his gang as the Mothergrabbers.  How can you not love a film that featured the main villain shouting, “Into battle, my merry band of Mothergrabbers!?”

Exterminators of the Year 3000 is a fun movie.  The action moves quickly.  There are lot of explosions.  The villains all snarl with panache.  There are plenty of slow motion shots of cars crashing.  And there’s enough odd moments to keep things interesting.  The film even ends with a sudden miracle.  How could anyone resist?  This is Italian exploitation as it most entertaining.

Previous Insomnia Files:

  1. Story of Mankind
  2. Stag
  3. Love Is A Gun
  4. Nina Takes A Lover
  5. Black Ice
  6. Frogs For Snakes
  7. Fair Game
  8. From The Hip
  9. Born Killers
  10. Eye For An Eye
  11. Summer Catch
  12. Beyond the Law
  13. Spring Broke
  14. Promise
  15. George Wallace
  16. Kill The Messenger
  17. The Suburbans
  18. Only The Strong
  19. Great Expectations
  20. Casual Sex?
  21. Truth
  22. Insomina
  23. Death Do Us Part
  24. A Star is Born
  25. The Winning Season
  26. Rabbit Run
  27. Remember My Name
  28. The Arrangement
  29. Day of the Animals
  30. Still of The Night
  31. Arsenal
  32. Smooth Talk
  33. The Comedian
  34. The Minus Man
  35. Donnie Brasco
  36. Punchline
  37. Evita
  38. Six: The Mark Unleashed
  39. Disclosure
  40. The Spanish Prisoner
  41. Elektra
  42. Revenge
  43. Legend
  44. Cat Run
  45. The Pyramid
  46. Enter the Ninja
  47. Downhill
  48. Malice
  49. Mystery Date
  50. Zola
  51. Ira & Abby
  52. The Next Karate Kid
  53. A Nightmare on Drug Street
  54. Jud
  55. FTA

Bela Lugosi As Henry Frankenstein?


When it comes to the 1931 film version of Frankenstein, the piece of trivia that everyone seems to know is that Bela Lugosi was the original choice to play the Monster.

As the story goes, Lugosi had just finished filming Dracula and Universal’s Carl Laemmle felt that it would only make sense for Lugosi to play the lead role in Universal’s second horror adaptation.  Not only would Lugosi be firmly established as Universal’s favorite monster but it would also reunite him with Edward van Sloan and Dwight Frye, both of whom played prominent supporting roles in Dracula.  However, the story continues, Lugosi turned down the part when he saw that the monster wouldn’t have any dialogue.

Well, the story is partially right.

The truth of the matter is that Frankenstein was one of several books to which Universal had the rights.  And when Lugosi learned that one of the studio’s directors, Robert Florey, was interested in directing a film based on Mary Shelley’s novel, he did meet with Florey to say that he was intrigued by the idea of playing the monster.  Lugosi even did a makeup test, one in which the proposed look of Lugosi’s monster reportedly owed much to 1920’s The Golem.  As a director, Florey was heavily influenced by German expressionism so it makes sense that he would look to The Golem for inspiration.

The Golem (1920, dir by Paul Wegner and Carl Boese)

Lugosi eventually lost interest in the role, not because of the lack of dialogue but because he felt that he wouldn’t be able to give a good performance while made up to look like the Monster.  His face would be barely visible and, as an actor, Lugosi naturally wanted to be recognized.  Lugosi had no objections to the script because the script itself hadn’t been written.  When Lugosi lost interest, so did Florey.

Instead, the project was taken on by director James Whale, who specifically asked for the project because he felt it would be a change-of-pace from the war movies that he had been directing.  Universal suggested John Carradine for the role of the Monster.  Whale, however, spotted Boris Karloff sitting in the studio’s cafeteria and specifically asked him to test for the role.  Karloff, with his imposing frame but gentle manner, more aligned with Whale’s version of the Monster as essentially being a child who is easily angered but ultimately more of a victim than a victimizer.

From the start, Whale also wanted Colin Clive to play Henry Frankenstein and Mae Clarke to play Elizabeth.  The studio, who wanted at least one star in the film, tried to convince him to go with Leslie Howard as Henry and Bette Davis (who, at that time, was just starting her career) as Elizabeth.  While the studio was willing to substitute the more glamorous Clarke for Davis, they were a bit less enthusiastic about Colin Clive as Henry.  If Whale was that opposed to Leslie Howard, the studio suggested, how about Bela Lugosi instead?

As we all know, Whale held firm and he eventually got Colin Clive.  Still, it’s interesting to imagine Frankenstein with Bela Lugosi, in the role of Henry, bringing Karloff’s Monster to life.  Personally, I think Whale made the right decision.  Lugosi would have been a bit too obviously sinister for the role of Henry Frankenstein whereas Colin Clive really nailed the characterization of Henry being an essentially good man who allowed his own obsessions to get the better of him.  Still, it’s interesting to imagine a Frankenstein that not only reunited the stars of Dracula but which included Boris Karloff as well!  Not only would it have been Lugosi and Karloff’s first film together but who knows?  Perhaps if a Lugosi-Karloff version of Frankenstein had been as successful as the Clive-Karloff version, Lugosi and Karloff would never have started their rivalry and Lugosi could have escaped the Dracula typecasting that hampered the rest of his career.

Though they didn’t share the screen in Frankenstein, Karloff and Lugosi would go on to appear in several films together.  Unfortunately, unlike the universally beloved Karloff, Lugosi’s career would be sabotaged by his own addictions and personal demons.  Lugosi would eventually get his chance to play Frankenstein’s Monster in 1943’s Frankenstein Meets The Wolf Man.  Unfortunately, that film is considered to be one of the weaker of the Universal horror films and Bela really didn’t get much of a chance to make a huge impression as the monster.  (He was right about the difficulty of being recognized under all that makeup.)

Bela Lugosi would die in 1956, at the age of 73.

Boris Karloff passed away 13 years later, at the age of 81.

Boris and Bela

The TSL’s Horror Grindhouse: Embrace of the Vampire (dir by Anne Goursaud)


In this incredibly silly film from 1995, Martin Kemp plays The Vampire.  He doesn’t get a name but he does get a backstory.  Back when he was mortal, the Vampire pursued a secret and forbidden affair with a princess.  One day, after making love, the man who would became the Vampire was laying down next to a stream when he was approached by three naked women who proceeded to bite his neck and vampirize him.

Centuries later, the Vampire is sickly and approaching the end of his existence.  He only has three days to convince the reincarnation of his former lover to allow him to drink her blood so that he can continue to exist.  And apparently it won’t work unless she’s a virgin and unless she rejects all others and loves only him.  That sounds like a lot of rules to me and, to be honest, most of them seem to be kind of arbitrary.  Not only does The Vampire have to find the reincarnation of the Princess but he has to find her before she loses her virginity or otherwise, what?  She’ll cease to be the reincarnation?  Her love will somehow be devalued?  Her blood will no longer be worth drinking?  If this vampire has had to spend centuries only drinking blood from virgins who were in love with him, no wonder he looks so sickly.  I really think that maybe the other vampires were playing a practical joke when they explained the rules to him.  Hazing the new guy, it has consequences!

Anyway, the princess has been reincarnated as Charlotte (a young Alyssa Milano).  Fortunately, for the Vampire, Charlotte was raised in a convent and, even though she is now a college student, she’s still a virgin who blushes when she even hears the word sex.  Unfortunately, Charlotte has a boyfriend named Chris (Harrison Pruett) and she’s thinking about losing her virginity if she can convince herself that she loves Chris more than any other person that she will ever possibly meet.  So, the Vampire not only has to convince Charlotte to fall in love with him but he also has to make sure that she doesn’t have sex beforehand.  It’s going to be difficult because everyone on campus is determined to get Charlotte laid.  This has all the makings of Italian sex comedy but Embrace of the Vampire instead takes its plot very seriously.

The Vampire starts to appear in Charlotte’s dreams.  He gives her an ankh to replace the cross that Chris gave her.  Because the Ankh is a symbol of desire, just wearing it makes Charlotte more sexually aggressive and soon, she’s wearing short skirts, low-cut tops, and white stockings.  She’s also making out with Sarah (Charlotte Lewis), the photographer who lives in the dorm room next to hers.  (As played by Charlotte Lewis, Sarah is actually an interesting character and it’s a shame that the film pretty much just uses her for titillation.)  But since the Vampire’s whole thing is keeping Charlotte from losing her virginity, why would he give her something that would make her more open to sexual experiences?  Again, it’s hard not to think that the Vampire is just the victim of an elaborate practical joke.

As I said at the start of the review, Embrace of the Vampire is incredibly silly.  It’s also a film that seems to be a bit popular with viewers of a certain age.  I’m assuming that’s because of the frequent Alyssa Milano nudity and that one scene with Charlotte Lewis.  For the most part, Alyssa Milano gives a bland performance in Embrace of the Vampire.  It’s not so much that she’s bad as everything about her performance is on the surface.  One gets the feeling that there’s really not much going on with Charlotte’s inner life, both before and after she starts dreaming about The Vampire.  As The Vampire, Martin Kemp appears to be absolutely miserable.  He comes across as if he’d rather be anywhere than appearing in this movie.

That said, the film’s director got her start working with Francis Ford Coppola and she has a good eye for gothic scenery and atmosphere.  A scene where Charlotte imagines a frat party turning into a Hellish orgy is effectively done.  Jennifer Tilly has a small role as a vampire and she has said that Quentin Tarantino approached her at the Oscars to tell her that he enjoyed the movie.  It’s a silly movie (yes, third time I’ve used that specific term and that should tell you just how silly it is) but, for better or worse, it epitomizes an era.

Evil Toons (1992, directed by Fred Olen Ray)


Evil Toons opens, disturbingly enough, with David Carradine hanging himself.  Carradine is playing Gideon Fisk, the owner of both a run-down mansion and an ancient book that appears to be bound in human skin.  Though Fisk kills himself, he still appears several years later so that he can deliver a copy of the book to the four girls who have been hired to clean his home.

The girls are all students at Miskatonic University, a name that will be familiar to any fans of the work of H.P. Lovecraft.  (Those same fans will also have figured out that the book is the Necronomicon.)  Jan (Barbara Dare) and Terry (Suzanne Auger) want to get the house cleaned so they can get paid.  Roxanne (Madison Stone) wants to party overnight with her idiot boyfriend, Biff (Don Dowe).  Shy and intellectual Megan (Monique Gabrielle) is mostly just worried about surviving until morning.  After the girls open the book, they get Megan to translate the Latin writing within.  This brings to life a cartoon monster, one who looks much like a combination of the Big Bad Wolf and the Tasmanian Devil but which is far more bloodthirsty and horny than either of them.  After killing one of the girls and possessing her body, the Monster stalks the other inhabitants of the house.

Not meant to be taken seriously in any way shape or form, Evil Toons was made by Fred Olen Ray for $150,000.  That probably explains why, despite the title, there’s only one evil toon and it only gets a minute and a half of screen time before possessing its first victim.  Most of the dialogue is deliberately obtuse, with none of the girls showing any alarm upon realizing that forcing Megan to translate the book has condemned everyone to an eternity of torment.  The good thing is that there are enough funny lines to hold your interest and the cast is game (and frequently undressed, which is probably why this film still has a cult following).  Monique Gabrielle proves that she can scream with the best of them while Madison Stone is genuinely funny as Roxanne, delivering her lines with a playful quirkiness and even indulging in a little physical comedy with a hard-to-open wine bottle.

Fans of B-horror will be happy to see Dick Miller in the role of Burt, the man who hires the girls to clean up the house.  After leaving the girls at the house, Burt goes home and watches Bucket of Blood (starring Dick Miller, of course) on television.  “How come that guy never won an Academy Award?” Burt asks.  Burt’s wife is played by scream queen Michelle Bauer, who gets a guest starring credit for a two-minute role that consists of her reminding Burt what Friday night is supposed to be for.

Evil Toons is undeniably dumb but I laughed more than I was expecting too.  I think it helps that the movie confirmed what anyone who grew up watching Saturday morning cartoons has always suspected.  Most cartoon characters aren’t that innocent, especially the ones that are drawn in the margins of the Necronomicon.

I Watched Facing Nolan (2022, dir. by Bradley Jackson)


Yesterday, I was feeling down about the Texas Rangers and their 66-89 record so I watched Facing Nolan on Netflix.

Facing Nolan is a documentary about Nolan Ryan, the Texas icon who played in the Major Leagues for 27 seasons and who proved himself to be the greatest pitcher who ever played the game.  He started his career with the Mets, working as a relief pitcher until he saved the Mets from losing Game 3 of the 1969 World Series.  (Somehow, it would be his only World Series appearance as a player.)  He was traded to the Angels, where he finally worked with a coach who was able to get wild pitching style under control.  After his son was nearly killed in a car accident, Ryan returned to Texas and played first for the Astros and then for the Rangers.  After he finally retired from baseball, Ryan became a businessman and a rancher.  He was President and CEO of the Rangers during the two seasons that we made it to the World Series.  I can remember Ryan being interviewed during those exciting playoff games as the Rangers made their way to their first two World Series appearances.  I’ll always associate Nolan Ryan with my two favorites seasons of baseball.

Ryan holds a total of 52 MLB records, including:

5,714 career strikeouts
215 career double-digit strikeout games
7 career no-hitters
12 career 1-hitters, tied with Bob Feller
18 career 2-hitters
31 career 3-hitters
15 200-strikeout seasons
6 300-strikeout seasons
6.555 career hits per nine innings
5.26 single-season hits per nine innings (1972)
Lowest batting average allowed, career (minimum 1500 innings) .204
26 seasons with at least one win
2,795 career walks
10 grand slams allowed (tied)
757 career stolen bases allowed

How did Nolan Ryan set all those records?  According to Facing Nolan, he did it by just being naturally better than every other pitcher in the game.  From his childhood on, Nolan Ryan was a powerful pitcher and a natural leader.  At first, he didn’t even realize how good he was.  When he was drafted into the Mets after high school, Ryan thought he would just play for four seasons, get his pension, and then return to his hometown of Alvin, Texas and work as a vet.  It took the Mets a while to realize how good he was too.  Up until his World Series performance, he was considered to just be a relief pitcher who was as likely to hit the batter as to get the ball over the plate.  When he was with the Mets, he got paid $7,000 a season and, after the Mets won the world series, Ryan still had to get a job installing air conditioning units to support himself during the off-season.  Ryan kept playing as he moved from team to team and, by the time he threw his second no hitter in 1973, everyone knew how good he was.  Ryan also knew how good he was and made sure he got paid a salary that reflected it.  There would be no more installing air conditioners to make ends meet!

Facing Nolan features interviews with Ryan’s family, his former teammates, and his former managers.  George W. Bush is interviewed and it’s obvious that Nolan Ryan’s time with the Rangers is one of his favorite things to talk about.  Facing Nolan was made by a fan for the fans and watching it, I was transported back to those days when the Rangers were winning every game and it seemed like our first World Series victory was just one strikeout away.  Hopefully, all of us fans will get to reexperience that feeling someday soon and, when the Rangers do finally win a Series, Nolan Ryan will sitting in the stands watching.

Horror Scenes That I Love: Edward Van Sloan Introduces Frankenstein


For our first Scene that I love for this year’s Horrorthon, I’m sharing the opening of the 1931 classic, Frankenstein.  The scene below features neither Colin Clive or Boris Karloff.  Instead, Edward Van Sloan breaks the fourth wall and, in his humorously avuncular way, lets the audience know what’s in store for them.

Today, of course, we all know the story of Frankenstein and his monster.  However, imagine how audiences in 1931, many of whom probably knew nothing about the story they were about to watch, must have felt when Edward Van Sloan specifically took a minute to warn them that they were about to see something terrifying.  You have to remember that Van Sloan was talking to the first generation of regular filmgoers and he was introducing them to one of the first true horror films of the sound era.  Today, it’s easy to smile when Van Sloan says, “You can’t say we didn’t warn you.”  In 1931, I imagine it probably sounded more like a dare.  Van Sloan was asking, “Do you have the courage to stay in theater?”  It’s kind of charming, isn’t it?

Edward Van Sloan was a bit of fixture when it came to the early Universal horror films.  Not only did he play Henry Frankenstein’s mentor but, in the same year, he played Prof. Van Helsing in Dracula.  He also had a key supporting role in The Mummy.  When it came to explaining the supernatural and the undead, no one else did it with quite the class of Edward Van Sloan.

International Horror Film Review: Bloody Moon (dir by Jesus Franco)


A 1981 West German/Spanish co-production, Bloody Moon open with a disfigured man named Miguel (Alexander Waechter) putting on a Mickey Mouse mask and sneaking into a party being held on the campus of a private school that is known as (deep breath) Europe’s International Youth-Club Boarding School of Languages.  It’s a school that is meant for the young, the rich, and the unburdened.  In short, it’s not a place for Miguel at all.

With his face safely hidden behind the smiling image of Disney’s favorite mouse, Miguel meets a young woman who is dancing by herself.  She mistakes him for her boyfriend and heads into a nearby bungalow with him.  They start to make love but — uh oh! — the mask falls off!  The woman screams at the sight of Miguel’s scarred face.  Miguel grabs a pair of scissors and stabs her to death while Mickey Mouse’s smiling face smiles on the floor.  (One can only imagine how Disney reacted to this film.)

A few years later, Miguel is being released from a mental hospital.  He’s released into the custody of his sister, Manuela (Nadja Gerganoff).  Miguel’s doctor (played by the film’s director, Jesus “Jess” Franco) says that Miguel should be fine as long as he’s not around anything that reminds him of the incident.  Manuela says that she’ll look after him and then promptly takes him back to the school where he committed the murder.  What part of not reminding him did she fail to understand?

Manuela does actually have an excuse for bringing Miguel to the school with her, though.  She and her aunt, Countess Maria (Maria Rubio), own the school.  Countess Maria is an angry, wheelchair-bound woman who is convinced that Manuela wants to kill her so that she can take over the school and it does seem that Manuela does have some hostility towards her aunt.  Of course, another reason for bringing Miguel back to the school to live with her is that he and Manuela have an incestuous relationship …. or, at least, they did.  Now that Manuela refuses to sleep him, Miguel is reduced to lurking around campus and staring at all the students while they sunbathe topless at the pool.  While Manuela stands naked in her room and stares at the moon (the bloody moon?), Miguel is hunched down in the shrubbery and peeping through windows.

Among the students is Angela (Olivia Pascal).  Angela is upset because she discovered a dead body but no one’s willing to believe her because she also enjoys reading mystery novels.  Angela knows that someone is committing murders on campus but is it Miguel or it is Professor Alvaro (Christoph Moosbrugger) or could it even be the enigmatic Bueno (Otto Retzer), a bald guy who seems to randomly pop up around campus?  Can Angela convince her remarkably stupid classmates that there’s a murderer on campus before it’s too late?

Bloody Moon was one of the many films directed by the Spanish auteur and former Orson Welles collaborator, Jesus Franco.  In a career that lasted over 60 years, Franco directed at least 173 feature films.  (It’s felt that he actually directed quite a bit more, usually under a pseudonym.  Franco, himself, claimed that he didn’t really remember how many films he had directed.)  As a director, Franco is remembered for his low budgets, his unapologetic embrace of the sordid, his rather casual attitude towards maintaining continuity from one scene to another, and for occasionally framing an interesting shot or two.  By his own admission, Bloody Moon was not a personal project for Franco.  It’s something that he did for the money, as a director-for-hire.  However, Bloody Moon is unmistakably a Franco film.  The budget is low.  The subject matter is often so sordid that it borders on parody.  As far as continuity goes, Angela goes from wearing a nightshirt when she discovers a dead body inside her bungalow to wearing a colorful sweater when she runs outside in a panic.  (I guess she could have stopped to change clothes with a dead body on the bed and a killer lurking somewhere in the bungalow but I doubt it.  When there’s a dead body on your bed, modesty should be the least of your concerns.)  And yet, as silly as it all is, there are moments when Bloody Moon does achieve a certain dream-like intensity.  The mix of badly dubbed performers, sudden jump cuts, bloody violence, and the total lack of narrative logic makes Bloody Moon feel a bit like a filmed nightmare.  It works despite itself.

Bloody Moon is one of the films that was, for a while, banned in the UK due to its violence and bloodshed.  And indeed, there is a lot of blood and the violence is a bit more graphic than what one might expect to find in the American slasher films that Bloody Moon was obviously meant to capitalize upon.  This film is notable for just how cruel the killer is.  Not even Michael Myers or Jason Voorhees resorted to using a giant radial saw.  That said, this is one of those films that has a reputation for being bloodier than it actually is.  The majority of the film is taken up with scenes of people wandering around campus, either searching for their friends or stalking a potential victim.  Personally, I felt the nonstop searching scenes added to the film’s dreamlike feel but I imagine those who only watch films like this for the kills will find it all to be a bit slow.

Bloody Moon was clearly made to capitalize on the success of American slasher films like Halloween and Friday the 13th.  That said, Bloody Moon has more in common with the Italian giallo genre, right down to the whodunit nature of the plot, the ludicrously sleazy motives of the killer, and the total lack of intentional comic relief.  Like so many giallo films, Bloody Moon takes place in a world where everyone’s either a victim or a killer and no one’s particularly likable.  It’s not one of Franco’s personal films but there’s still enough of his signature style to appeal to his fans.  As with most of Franco’s film, it will be best appreciated by those who like a little ennui mixed with their horror.