4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films is all about letting the visuals do the talking.
Today the Shattered Lens honors the the underrated Italian filmmaker, Luigi Cozzi!
4 Shots From 4 Luigi Cozzi Films
The Killer Must Kill Again (1975, dir by Luigi Cozzi, DP: Riccardo Pallottini)
Starcrash (1978, dir by Luigi Cozzi, DP: Paul Beeson and Roberto D’Ettorre Piazzoli)
Contamination (1980, dir by Luigi Cozzi, DP: Giuseppe Pinori)
Paganini Horror (1989, dir by Luigi Cozzi, DP: Franco Lecca)
The Asphyx, a 1972 horror film from the UK, opens in what would have been the film’s modern day. A horrific accident occurs when two cars collide. The drivers are both dead, with one of the them rather grotesquely hanging out of a shattered windshield. And yet somehow, an elderly pedestrian who was trapped underneath the two cars is still alive and able to shuffle away from the accident.
The film then jumps back to the Victorian-era. Sir Hugo Cunningham (Robert Stephens) is a scientist who is studying what happens at the exact moment of death. Taking a look of several pictures that were taken of people as they died, he spots a dark smudge that seems to be hovering near the subject of each photograph. Later, while making a home movie with an amazing new device called a motion picture camera, Sir Hugo can only watch in horror as his son Clive (Ralph Arliss) and Clive’s fiancee, Anna (Fiona Walker), both drown in a boating accident. When Sir Hugo later looks at the film, he notices a ghostly blue light that seems to be hovering over both his son and Anna.
Sir Hugo speculates that the light could be what the ancient Greek called the Asphyx, a force that comes for everyone’s life in the moment right before death. Hugo theorizes that everyone has their own individual Asphyx and he also comes to believe that if one were to capture their own Asphyx before it takes away their life, the result would be immortality. Working with his reluctant adopted son, Giles (Robert Powell), Hugo sets out to capture an Asphyx. Unfortunately, to do so means that someone has to be on the verge of death so that their Asphyx will show up. Giles is not happy about the idea of strapping Hugo into an electric chair or of sitting in a gas chamber himself but he agrees to do so in return for Hugo’s permission to marry Hugo’s daughter, Christina (Jane Lapotaire).
(Before we all say, “Ewwww!,” let us remember that Clive is only adopted. Still, it does feel a bit strange.)
The experiments lead to both tragedy and success. Heads roll, literally. And while Giles’s doubts continue to grow, Hugo finds himself more and more obsessed with the idea of living forever.
The Asphyx is a rather low-key horror film. No one is going to mistake this for one of Hammer’s bloody and flamboyant films. The horror is less in what is seen and more in what is implied. That said, the premise is an intriguing one, the film’s plot unfolds with a good deal of intelligence, and both Robert Powell and Robert Stephens overact so grandly during the film’s final few minutes that those who are just looking for a campy British horror film will be satisfied. Robert Stephens gives a very good performance as Sir Hugo, a scientist who claims that he’s just tying to make the world a better place but who is actually motivated by his own megalomania. (He reasons that he deserves to be immortal because he’s a scientist and his contributions are too important to be ended by a mere death.) Robert Powell’s somewhat wooden acting style actually makes him ideal for the role of Giles, who is written to be, at least in the beginning, a somewhat boring person. The film’s best performance comes from Jane Lapotaire, whose reaction to discovering how far her father is willing to go to capture an Asphyx is simply heart-breaking to watch.
The Asphyx is a great pick if you’re looking for an off-beat and intelligent horror film this scary season.
The 1960 film, The Fall Of The House of Usher, opens with Phillip Winthrop (Mark Damon) riding his horse across a desolate landscape.
There’s a foreboding mansion in the distance but what the viewer immediately notices is that the land around the mansion looks almost post-apocalyptic. Even though the film is set in the 1800s, the misshapen trees and the high winds all bring to mind a film set in a nuclear-scarred world, the type where you expect to find radioactive mutants hiding behind every tree and rock.
Phillip is a young aristocrat who is traveling to the home of the Usher family. He is engaged to marry Madeleine Usher (Myrna Fahey) but, as soon as he arrives at the mansion, her older brother, Roderick (Vincent Price, with no mustache and blonde hair), informs Phillip that he will never be allowed to marry Madeleine. Roderick explains that the Usher family is cursed and he even takes Phillip on a tour of Usher family history, showing him a series of truly hideous paintings of past Ushers. One Usher was a murderer. Another Usher was blackmailer. An Usher wearing a pirate’s cap is identified as being a slave trader. The Ushers are cursed, with each family member destined to become insane. Roderick’s mission is to bring the Usher bloodline to a close and that means that Madeleine cannot marry.
Phillip disagrees, especially when the sickly Madeleine herself says that she wants to escape from her seemingly mad brother. With the house itself continually shaking as if it’s on the verge of collapsing, Phillip becomes determined to take Madeleine away. Roderick tries to warn him not to. Even the friendly butler, Bristol (Harry Ellerbe), encourages Phillip to give up. But Phillip remains stubborn and determined. However, when Madeleine suddenly collapses and dies, it appears that Phillip’s plans to marry her are at an end. But is Madeleine truly dead?
Based on a short story by Edgar Allan Poe, this was, at the time, the most expensive film that Roger Corman and American International Pictures had ever made. (It was also their first color film.) Of course, the budget was still just $300,000 and the Usher mansion was largely constructed out of props that were borrowed from other films. That said, the film had a name star and, with its vivid colors and its fiery finale, it certainly looked like a big-budget film. This film marked the first collaboration between Vincent Price and Roger Corman and it was a box office success, making a million dollars at a time when a million dollars really meant something.. Corman and Price would go on to do several other Poe adaptations together, all of which were distinguished by Price’s villainous performances and Corman’s pop art visuals.
Seen today, The Fall of the House of Usher can seem to be a bit slow. With only one location and a cast of only four actors, it often feels a bit stagey. Mark Damon is rather stiff as Phillip. (One can see why he abandoned acting to become a producer.) But Vincent Price’s performance as Roderick Usher continue to entertain, with Price delivering every line of dialogue with his trademark aristocratic archness. There’s nothing subtle about Price’s performance but Price’s tendency to overact perfectly matched Corman’s vivid visuals and it’s interesting to watch a hyperactive Price performance paired with the type of dull performance that Mark Damon offers up.
The fiery finale still packs a certain punch and, watching it, one can see why Corman and Price said, “Let’s do this again!” The Fall of the House of Usher (which is also available on some streaming sites as simply House of Usher) remains an enjoyable macabre Halloween treat.
House of Usher (1960, dir by Roger Corman, DP: Floyd Crosby)
(I originally shared this film back in 2011, 2019, 2022, and 2023 — can you believe we’ve been doing this for that long? — but the YouTube upload keeps getting taken down! So, I’m resharing it today!)
For today’s excursion into the world of public domain horror, I offer up the film debut of Francis Ford Coppola. Before Coppola directed the Godfather and Apocalypse Now, he directed a low-budget, black-and-white thriller that was called Dementia 13. In a possible sign of things to come, producer Roger Corman and Coppola ended up disagreeing on the film’s final cut and Corman reportedly brought in director Jack Hill to film and, in some cases, re-film additional scenes.
Regardless of whether the credit should go to Coppola, Corman, or Hill, Dementia 13 is a brutally effective little film that is full of moody photography and which clearly served as an influence on the slasher films that would follow it in the future. Speaking of influence, Dementia 13 itself is obviously influenced by the Italian giallo films that, in 1963, were just now starting to make their way into the drive-ins and grindhouses of America.
Speaking of giallo films, keep an eye out for Patrick Magee, who gave a memorable performance in Lucio Fulci’s The Black Cat. Luana Anders, who plays the duplicitous wife in this film, showed up in just about every other exploitation film made in the 60s and yes, the scene where she’s swimming freaks me out to no end. Other films featuring Luana Anders include Night Tide and Easy Rider, in which she played one of the hippies who unsuccessfully enticed Peter Fonda and Dennis Hopper to stay at the commune.
As for Francis Ford Coppola, well, he’s gone on to have quite a career, hasn’t he? It’s been quite a journey from Dementia 13 to Megalopolis!
You can probably already guess that this video and song were both controversial back in the day. Not only was the video’s symbolism blatant but the song was released at a time when the AIDS epidemic was very much on everyone’s mind. This was the type of video that MTV would have banned in its early days but, by the time the 90s rolled around, the video was considered safe for viewing by none other than Beavis and Butthead, neither one of whom was ever having sex.
This video was produced by H-Guns Labs, the same studio that was responsible for many of Nine Inch Nails’s early videos.
LaTour was a disc jockey from Jack Kerouac’s hometown of Lowell, Massachusetts. Despite the urban legend to the contrary, he never recorded a follow-up called People Are Still Having Lunch.
Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Wednesdays, I will be reviewing Monsters, which aired in syndication from 1988 to 1991. The entire series is streaming on YouTube.
This week, it’s all about dreams!
Episode 2.16 “Perchance to Dream”
(Dir by Paul Boyington, originally aired on February 4th, 1990)
Alex (Raphael Sbarge) is a college student whose dorm room has become one wild place. Blood continually drips from a chair. A subway train occasionally roars past the window. A giant nun peeks in on him and tries to swat him with a ruler. These are all images that Alex used to see in his dreams but now, they’re entering his waking world and what’s really strange is that everyone else can see them too. His subconscious has become reality.
Thinking that it might have something to do with a recent mugging in which Alex struck his head and apparently lost the ability to sleep, Alex’s girlfriend, Megan (Sarah Buxton), asks Kyle (Kenneth Danziger), an expert on dreams, for help. Arriving at Alex’s dorm room just in time to save Alex from the nun and her ruler, Kyle theorizes that, because Alex isn’t sleeping, he’s projecting his dreams into the real world. The only solution is for Alex and Megan to enter a portal that leads them straight into Alex’s subconscious. If Alex can find his dream self, he can finally get some rest. Of course, Alex and Megan will have to avoid and defeat a series of trains, muggers, and nuns to accomplish their task.
This episode is entertainingly goofy. It was obviously inspired by the popularity of the Nightmare on ElmStreet films but the monster here is not a wisecracking killer like Freddy Krueger but instead, it’s just Alex’s bad childhood memories and the trauma of having been mugged. As I watched this episode, I was impressed that Monsters tried to do something different than usual but I was also very aware that 20 minutes was not enough time to tell the story that this episode wanted to tell. For this episode to really work, the viewer would have to feel a deep connection to Alex. Raphael Sbarge gives a likable performance as Alex and he has a really cute chemistry with Sarah Buxton but 20 minutes still isn’t enough time to really get to know the guy.
When seen today, the special effects are undeniably primitive but there’s something kind of charming about that. The scene where the giant nun tries to swat Alex with a ruler looks silly today and I imagine it probably looked silly in 1990 as well but it’s a fun kind of silly. The same can be said of the scene where Alex and Megan plunge into his subconscious. CGI has come a long way but today’s realistic CGI just doesn’t have the do-it-yourself charm of early chroma keying and matte shots. I liked that Alex’s subconscious was not only goofy but cheap as well.
For today’s televised horror, we have the second episode of the 1960s anthology series, One Step Beyond.
In this episode, a young Englishwoman is haunted by dreams of drowning. Try as she might, she can’t get the feeling of doom out of her mind. Perhaps her upcoming trip to New York will help to relax her. Her fiancee even tells her that they’ll be traveling to New York on the most luxurious ship ever built. The name of that ship? Why, the Titanic, of course.
For the record, there actually were quite a few people who apparently did have psychic premonitions of doom when it came to the Titanic. Perhaps the most infamous example was the author Morgan Robertson, who wrote a novel in 1898 that was called The Wreck of the Titan: Or, Futility. That book managed to perfectly predict that sinking of the Titanic, right down to the iceberg and the number of lives lost.
This episode originally aired on January 27th, 1959.
The 1986 film Spookies is not exactly the easiest film to describe.
A 13 year-old boy named Billy (Alec Nemser) runs away from home after his parents forget his birthday. After a conversation with a random drifter, Billy ends up entering a spooky and apparently abandoned mansion. The inside of the house is decorated for a birthday party. “They didn’t forget!” Billy says, assuming the party is for him even though neither he nor his parents live at the house. Needless to say, the party is not for Billy, who soon ends up getting buried alive by a werecat (Dan Scott).
The werecat is the pet of Kreon (Felix Ward), an elderly warlock who lives in the abandoned house and spends his time playing chess and trying to convince his wife, Isabelle (Maria Pechukas), to fall in love with him. He’s been trying to convince Isabelle for 70 years. Kreon is very old but Isabelle is still very young because Kreon has been sacrificing people to keep her young. Isabelle is not particularly happy about that.
Meanwhile, a group of four couples and one friend come across the house on the same night of Billy. Having gotten kicked out of a previous party, they decide to have a new party in the house. The main thing that most viewers will notice about the nine friends is that none of them seem to have much in common. Duke (Pat Wesley Bryan) and Linda (Joan Ellen Delaney) are apparently supposed to be rebellious teenagers, despite appearing to be in their 30s. Adrienne (Charlotte Alexandra) appears to be wealthy and spoiled and is married to wimpy Dave (Anthony Valbrio). Peter (Peter Dain) and Meegan (Kim Merril) both appear to be in their 40s and seem to be way too straight-laced and intelligent to be hanging out with Duke. Rich (Peter Iasillo, Jr.) is the practical joker of the group and carries a puppet around with him. Finally, Carol (Lisa Friede) and Lewis (Al Magliochetti) don’t get much character development as it only takes a few minutes for Carol to get possessed by a demon and for Lewis to die while trying to flee the mansion.
It turns out that the entire mansion is crawling with demons. There’s zombies in both the wine cellar and the nearby cemetery. There’s a spiderwoman who has spun quite an impressive web. There are little green lizard things that chew off people’s faces. There’s a hooded figure who can shoot out electrified tendrils. While the monsters track down and kill the party-goers one-by-one, the Werecat watches from a distance and purrs. Occasionally, he goes and visits with Kreon, who says that everything is going as he planned it. Personally, I think Kreon is just saying that because it’s obvious that next to no planning went into any of this.
To say that Spookies is a bit disjointed would be an understatement. The fact that there are three credited directors provides a clue as to how that came to be. The footage with the partygoers and all the house monsters was filmed first and directed by Brendan Faulkner and Thomas Doran. Creative differences between the film’s producers and financial backers led to the film being temporarily abandoned during the editing process. A year later, Eugene Joseph was hired to shoot the scenes of Billy, Kreon, the Werecat, and Isabelle and those scenes were rather clumsily inserted into the original footage. The end result was Spookies.
But, oddly enough, as confusing and disjointed and nonsensical as it all is, it kind of works. The old mansion is creepy. (Interestingly enough, the mansion is actually the Jay Estate, the home of founding father John Jay.) Some of the monster makeup is effectively grotesque. The story’s incoherence and even the all-around bad acting on the part of the actors playing the victims all come together to create a nightmarish atmosphere. (And, in defense of the scenes that were shot by Eugenie Joseph, the performances of Felix Ward, Dan Scott, and Maria Pechukas are all actually quite good.) The film’s frenzied ending actually works surprisingly well.
At its worst, Spookies is an Evil Dead rip-off that lacks the enthusiasm that Sam Raimi and Bruce Campbell brought to that film. At its best, Spookies feels like a filmed nightmare.
Eight “urban explorers,” who have the own streaming show where they film themselves in haunted locations across Britain, try to spend the night at the long abandoned Pelosi Asylum. Pelosi Asylum (and it’s a British film so don’t read too much into the name, as tempting as it may be to do so) is supposed to be one of the most haunted locations in the UK. It’s scheduled to be demolished and the explorers plan to be the last people to spend the night at the Asylum.
None of the supernatural explorers actually believe in the supernatural. Before entering the Asylum, they joke about how everything that they do is just for show and how all of the “supernatural” things that they’ve filmed have actually been created through clever editing. They don’t even plan to actually spend the entire night at the Asylum. Once they do enter the Asylum, they decide to split up to explore and get as much footage as they need to edit something together. That’s when they discover that they are not alone. The Asylum is full of former patients who consider the building to be their home and who did not welcome uninvited guests.
Night Explorers: The Asylum starts out as a found footage film but it quickly abandons that and instead becomes a standard slasher film where people split up for no good reason and get picked off one-by-one. There’s nothing new or surprising about Night Explorers but there are some effective jump scares and fans of gore will find a lot to look at here. The film’s killers are frighteningly ruthless and the violence is not for the squeamish. For the most part, the cast is hampered by undeveloped characters but everyone is convincing enough as the type of moron who would think breaking into an abandoned asylum was a good idea. I’ve definitely seen better than this film but I’ve also seen much worse movies that cost considerably more money to make. What Night Explorers lack in originality, it makes up for in blood and atmosphere.
Through the Shattered Lens 