Ugh.  It’s hard for me to think of any film that left me feeling as icky as the 1972 film, I Dismember Mama.  Seriously, who would have guessed that a film with a title like I Dismember Mama would be disturbing and offensive?

Zooey Hall stars as Albert, a puritanical young man who idealizes the Victoria Age, when “men were gentlemen and women were pure.”  Albert has tried to murder his rich mother three times for being “a whore,” and he’s now living in a minimum security mental hospital where he spends his time watching pornographic movies.  When Albert escapes from the mental hospital, he heads straight to his mother’s house.  His mother isn’t there but Alice (Marlene Tracy), the maid, is.  After raping and murdering Alice, Albert heads down to the living room where he meets Alice’s 9 year-old daughter, Annie (Geri Reischl, who would later take on the role of Fake Jan on the Brady Bunch Variety Hour).  Albert doesn’t know Annie but Annie instantly recognizes Albert from the pictures that his mom has up around the house.

Suddenly enchanted by Annie and her innocence, Albert lies and tells Annie that Alice has been taken ill and had to go see a doctor but she asked Albert to keep an eye on Annie until she got back.  (Is there a reason why everyone’s name starts with an A?  My ADD is going crazy just trying to type this up.)  Albert then takes Annie for a ride around town, telling her about how much he loves the Victoria era and eventually checking into a motel with her.  (Ewwwwww!)  When Albert murders a woman that he picked up at a bar, Annie runs away from the hotel and Albert, suddenly convinced that Annie is now a harlot, chases after her.  It all leads to a properly violent conclusion.  Say what you will about the film but the final five minutes make great use of slo mo of doom as Albert and Annie run through a mannequin factory in slow motion.

My favorite character in this film was the police detective played by Greg Mullavey.  When Albert’s liberal doctor (Frank Whiteman) argues that even Albert can be cured with the right amount of treatment, the detective just smirks and complains about how his tax dollars are being used “to baby murderers.”  Normally, I would argue that the doctor has a point but Albert is such a creep and his fixation on Alice is so disturbing that I was totally on the Detective’s side.  Whether he could be cured or not, Albert deserved a bullet in the head.

It’s a competently-made and well-acted film and Zooey Hall deserves a lot of credit for making Albert into an all-too plausible madman.  It’s also a thoroughly icky film, the type of film the features flashbacks to scenes of rape and violence that occurred mere minutes before.  This is one of those grimy films that leaves the viewer feeling as if they’re going to need to take multiple showers after watching.

The film is today is best remembered for the gimmicks that were used to promote it.  Theater patrons were given an upchuck cup, in case the film proved to be too intense for them.  And, of course, the film’s famous trailer featured people who had been driven insane by watching the film.

Director Paul Leder and Greg Mullavey would reunite for another grindhouse horror film, My Friends Need Killing.  Look for my review of that film tomorrow!