“For some nights I slept profoundly; but still every morning I felt the same lassitude, and a languor weighed upon me all day. I felt myself a changed girl. A strange melancholy was stealing over me, a melancholy that I would not have interrupted. Dim thoughts of death began to open, and an idea that I was slowly sinking took gentle, and, somehow, not unwelcome possession of me. If it was sad, the tone of mind which this induced was also sweet. Whatever it might be, my soul acquiesced in it.”
― Joseph Sheridan Le Fanu, ‘Carmilla’

LEMORA: A CHILD’S TALE OF THE SUPERNATURAL 1973

Run, little girl! Innocence is in peril tonight!

The Light in the Window … The Lock on the Door … The Sounds in the Night! A Possession is Taking Place!

A while ago I double featured Let’s Scare Jessica to Death (1971) and The Night God Screamed (1971). I made it clear that I felt Let’s Scare Jessica to Death was the superior film but somehow they made good companion pieces. And since I’m a child of the 70s, those days of the double bill, musty theaters, milk duds, and groovy posters, I’ve decided to pair these particular films. And once again, I’ll emphasize now that I believe Lemora to be by far not only the superior film but one of the MOST uniquely beautiful horror/fantasy films I’ve ever seen.

Because the film hit a very bumpy road on its release, it wound up being passed around like an orphan from one distributor to another. Thus is the reason for several titles over the years. It has been called The Legendary Curse of Lemora and Lemora, Lady Dracula, the latter hoping to ride the wave of low-budget vampire films that have now also attained cult status such as Bob Kelljan’s authentically potent Count Yorga Vampire 1970 starring Robert Quarry, and the equally stylish Blacula 1972 and of course the Gothic vampire pageantry of Hammer Studios churning out stylish costume melodramas with a lesbian vampire sub-text like The Vampire Lovers 1970 and Lust For a Vampire 1971, Stephanie Rothman’s The Velvet Vampire 1971, and Vicente Aranda’s The Blood Spattered Bride 1972. The liner notes written by Richard Harland Smith of Video Watchdog & Chris Poggiali of Fangoria and Shock Cinema interviewed Richard Blackburn and Byrd Holland and point out that Blackburn’s film is “less exploitative” yet “not unerotic” while using the “fragility of innocence.”

From the Journal of Horror and Erotic Cinema-Edited Andy Black
Bev Zalock’s- Girl Power From The Crypt

“In a sense, horror more than any of the other exploitation genres, with its monsters of the imagination, feeds fantasy and configures fear in a very direct way. With its linking of sex and death, horror taps into the unconscious and is associated with surrealism and the fantastic in both literature and cinema. Desire becomes the primary mise-en-scene within the realm of the supernatural and, as David Pirie observes in his excellent book The Vampire Cinema’ there is a strong cultural connection between our perception of sex and the supernatural. Pirie cites an article by Susan Sontag written in 1967 entitled “The Pornographic Imagination” in which she locates the fantastical realm of the human imagination as the site in which the two are classically connected.” – from Susan Sontag’s piece–Styles of Radical Will 1966

In addition to these lesbian vampire narratives, you have Jess Franco’s Vampyros Lesbos 1970 and auteur Jean Rollin’s distinctive style who like Hammer connected suggestions of the ‘pornographic imagination’ that Susan Sontag describes. Films that use the spectrum of surrealist imagery from the Gothic to the gory. What they share is a ferocious appetite for power and the desire for sexual freedom.

Directed and written by Richard Blackburn  (Eating Raoul 1982 with cult idol Mary Woronov and co-written with director Paul Bartel) fresh out of UCLA film school, with his pal Robert Fern. Blackburn has said in interviews that there are things he would have done differently with a better budget and more time. He shot Lemora in a month. I think the crudely macabre tonality of Lemora is what makes films like these from the good old ’70s oneiric, quintessential, haunting, and flawless as is.

There is a discrepancy as to whether the running time of the film is either 85 minutes or 113 minutes (uncut). The remastered DVD through Synapse Films took the original 35mm negatives and brought this film back to its ‘never before seen clarity.’ The prints were presumed lost for over 30 years.

The hauntingly macabre and somber music is by Dan Neufeld who crafted electronica and claviers and what I think might be a Melatron to evoke the eerie essence of the story is absolutely brilliant. With crying strings that fortify distorted wails and moans. With music box tinkling, poignant yet eerie flutes, and piano, muted horns-noises that shimmer and reverberate on cue with the dialogue or surreal set piece- I wish Dan Neufeld had done more movie scores. The sound design, the dysmorphic groans-unearthly wails- they’re the sounds you’d imagine the ‘old ones’ make in a Lovecraftian tale. Even the crickets and chorus frogs of the swamp sound metamorphosized into frightening aberrations.

And the visual settings that create a landscape of fable, folklorish imagination, and sleepwalking nightmare that contributes to the film’s fantastical quality were done by cinematographer Robert Caramico (Orgy of the Dead 1965, The Black Klansman 1966, The Wild Scene 1970, Octaman 1970 yes it’s a guilty pleasure of mine!, Blackenstein 1973 and The Manhandlers 1975) The sequences are saturated with a European color palate and low lighting that permeates the dream-like magnetism.

Art direction by Sterling Franck who took Blackburn’s book of Charles Adams prints and ripped the pages out, putting them up on the wall to study. The creaky bus Hy Pyke drives is an actual 1913 REO bus.

The visual effects were done by Byrd Holland (Rabid 1977, The Baby 1973) costumes and wardrobe by Jodie Lynn Tillen (Angels Hard as They Come 1971, Switchblade Sisters 1975) Tillen dresses Lila Lee, her hair done up with pale blue ribbon and black patent leather shoes on her journey as if she were Alice from Lewis Carroll’s story. For all the modern CGI effects in contemporary film- Holland gives special credit to his lab assistant Doug White. I prefer the look of the 70s, and as Byrd Holland said these were the only tools they had in their make-up kit. I think the simplicity is so effective it taps more into the primal…

Tillen’s costumes use night-fevered colors–The most decadent black satin for Lemora, with rhinestone buttons on the cuffs and velvet black gloves, or lace hand ornaments that reveal her deathly black nails. Only the choir robes, the reverend’s shirt, and Lila Lee’s nightgown are white. Her pale pink and blue dresses splinter the darkness that looms about. White and pale pink and blue obviously symbolizing purity and innocence, diverging wonderfully against the forbidding black nails, pale purplish lips, burnt orange, mustard golds, and satin lilac purples. In Lemora’s nether region, there is a deep blue tinge throughout the film’s lens. Blackburn’s film does have; as he states a “quasi-European slant.”

Like Rollin’s work created expressionist, surrealist, and pulp-influenced imagery, the use of color portrays an atmosphere of the uncanny. Daniel Bird a Rollin enthusiast cites his work as ‘pulp gothic’ referring to his colors as cobalt blue and scarlet. Much like the colors in Lemora.

From the darkest Gothic blues, Victorian purples, and greens, a fiery red haze of the lantern light and blood red ‘sort of’ like wine in the goblet, to the blood red Victrola, –Sharon Cassidy was responsible for the archetypal fairytalesque hair styles.

The dialogue is perfectly suited for a modern-day adult fairy tale, filled with innuendo and simplifying the story so that it translates more effectively as a fairytale and not dramaturgical, which might have constrained the film’s fantastical moodiness.

I caught Lemora, as many of us did back in the days of Fright Night on channel 9 in New York. I was mesmerized by it from the outset. In James Arena’s entertaining and nostalgic book Fright Night on Channel 9 he mentions Lemora in his section The Fright Night Experience-1983 having aired on March 19th within weeks of Mind of Mr. Soames with Terence Stamp ( I will be covering this film down the road) Children Shouldn’t Play with Dead Things (another fav of mine!) and Don’t Look in the Basement. So many of these obscure low-budget gems found their home and reached us fans on late-night theaters like Fright Night and Chiller Theater. But I wax nostalgic…

Lesley Gilb (Taplin) who plays Lemora, was very intellectual, and had more academic interests than to continue as an actress, Blackburn recalls. She died tragically in 2009 in a car accident on Highway 101. Ironically I just wrote about that particular road in my last double feature with Man on a Swing. It’s sort of eerie to be hearing about her tragic death on that same highway that Joel Grey refers to while being questioned about the murder of a young girl. Having two kinds of fans, the people who knew Lesley for her performance in this cult masterpiece and the people who knew her as a social activist. From IMDb, it lists her as having worked as a film producer, production assistant, production manager, story editor, researcher, writer, gallery manager, publisher, teacher, and a dedicated volunteer with many downtown Los Angeles organizations.

Cheryl *Rainbeaux* Smith who plays the very ethereal Lila Lee was seventeen when she starred in Lemora. I think she did a terrific job of portraying a naive thirteen-year-old, then allowing herself to emerge out of her prepubescence singin’ angel into a feverish nymph.

Sadly succumbed to a hard life of heroine addiction and died in 2002 of hepatitis. Once a member of the girl band, The Runaways. Auditioned for the role of Iris in Taxi Driver (1976) which of course made Jodi Foster’s career. Smith had parts in many ‘B’ movies of the 70s & 80s. I loved her as Lavelle in Jonathon Demme’s  Caged Heat 1974. This taut women-in-prison film also stars Juanita Brown and Roberta Collins, plus! Barbara Steele plays Superintendent McQueen!

Smith was a groupie in Phantom of the Paradise 1974, The Swinging Cheerleaders 1974, and Farewell, My Lovely 1975 with Robert Mitchum and Charlotte Rampling. Massacre at Central High in 1976, The Incredible Melting Man in 1977, The Choirboys in 1977, Laserblast in 1978, Dead Men Don’t Wear Plaid, and Vice Squad in 1982.

I perceive several different allusions within the narrative of this adult fairytale, with its strong sexual overtones and the central theme of corrupting innocence. A story that harkens back to dark and grim folktales representing the coming-of-age / rite-of-passage tale.

From–The Dread of Difference-Gender and the Horror Film edited by Barry Keith Grant from Chapter 3 –Carol Clover’s ‘Her Body, Himself’– “What makes horror ‘crucial enough to pass along’ is, for critics since Freud, what has made ghost stories and fairy tales is engagement of repressed fears and desires and it’s reenactment of the residual conflict surrounding those feelings. Horror films respond  to interpretation as Robin Wood puts it, as ‘at once the personal dreams of their makers and the collective dreams of their audiences–the fusion made possible by the shared structures of a common ideology’

In an interview back in 2010 at Cinemamateques Egyptian Theatre 2010 Richard Blackburn discusses how mind-blowing it was for him to read the French critics reviewing Lemora, in magazines during the film’s release who actually cited Blackburn’s literary homages, and how much insight they had into his reading sensibilities. How “they had gotten all the references.” One of his favorites was Arthur Machen’s The White People. You can see shades of this in the sequences of Lemora and her horde of spooky children with their secret rites and ritual dancing, and the initiation of a young girl into a secretive occult society.

From Wikipedia- the synopsis of The White People- A discussion between two men on the nature of evil leads one of them to reveal a mysterious Green Book he possesses. It is a young girl’s diary, in which she describes in ingenuous yet evocative prose her strange impressions of the countryside in which she lives, as well as conversations with her nurse, who initiates her into a secret world of folklore and ritual magic. Throughout, she makes cryptic allusions to such topics as “nymphs“, “Dôls”, “voolas,” “white, green, and scarlet ceremonies”, “Aklo letters”, the “Xu” and “Chian” languages, “Mao games”, and a game called “Troy Town” (the last of which is a reference to actual practices involving labyrinths or labyrinthine dances^[1]). The girl’s tale gradually develops a mounting atmosphere of suspense, with suggestions of witchcraft, only to break off abruptly just at the point where a supreme revelation seems imminent. In a return to the frame story, the custodian of the diary reveals that the girl had “poisoned herself—in time”, making the analogy of a child finding the key to a locked medicine cabinet.^[2]

Blackburn remarked that he was pretty steeped in horror literature at the time. One in particular was to Arthur Machen the Welsh author and mystic of the early 20th century, best known for his influential supernatural, fantasy, and horror fiction much like his contemporaries, and friend H.P. Lovecraft. Ambrose Bierce, Edgar Allan Poe, and of course August Derleth and Ray Bradbury. The hellish bus ride through the nightmare forest had been considered Lovecraftian by Blackburn in his commentary on the DVD. Blackburn contributed his thoughts to the DVD liner notes saying that it was a nod to Lovecraft’s short story “The Shadow over Innsmouth.” where the population of a small fishing village devolves into monstrous things, much like the inhabitants of the abandoned Astaroth. Blackburn also was inspired by Lewis Carroll ( I did think of Lila Lee & Alice Through the Looking Glass) and James M. Barrie with the ‘lost boys’– as you can see with Lemora’s children. There’s a reference to Tennessee William’s cannibalistic children in Suddenly, Last Summer as similarly undead urchins.

Also wonderfully descriptive on the liner notes- “a dark tale of childhood terror and transgression set within sprawling nightscapes.”

The film’s narrative is drenched in subtextual planes like Lila Lee’s father(William Whitton) being a gangster in the South during the prohibition era late twenties, and early thirties. Michael Weldon’s Psychotronic Encyclopedia of Film sets the film in Georgie in the ’20s. Though the story is supposed to be situated in the deep south, it was actually shot on location in Culver City and Pomona Valley California.

The song the ornery old woman (Maxine Ballantyne) sings to Lila Lee while she’s locked in the little stone house is something that Blackburn’s grandmother used to sing to him. I remember hearing it sung to us by the librarian around Halloween when I was in kindergarten.

This version was collected by folklorists Iona & Peter Opie in the 50s in England. The Opies claim that published versions go back as far as 1810:

My kindergarten class experience-

“There was an old lady all skin and bones, whoooo, oooo, oooo
She lived down by the old graveyard, all alone, whoooo,ooooo,ooooo
One night she thought she’d take a walk, whooooo,ooooo,oooooo
She walked on down by the old graveyard, whoooo,ooooo,oooooo
She saw the bones a laying around, whooooo,ooooo,ooooo
She went to the closet to get a broom, whooooo,ooooo,oooooo
She opened the door, and… BOO!”

The film’s version of the folk song–

The Old Woman singing while circling Lila Lee, “There was an old woman all skin and bones, Ooh-ooh-oooh-ooh-ooh. And she did weep and she did moan, Ooooh-ooh-oooh-ooh-ooh. She walked on through the streets of town. Ooooh-ooh-oooh-ooh-ooh. Where all the dead lay on the ground. Ooooh-ooh-ooh-ooh-ooh. Then turned and to the parson said. Ooooh ooooo ooooo. Will I look like that when I am dead? Ooooh ooooo ooooo. The parson to the old woman said… BOO!!!!”

Lila screams, the old crone cackles with glee!

Myself, I see a synthesis of ideas and several different parallels from fairy tales, mythology, and classic literature disambiguated in the narrative. From the frightening mythical she-creature Lamia in Greek Mythology who was a child-eating demon, the mistress of Zeus who angered Hera so much that she killed Lamia’s children except for the cursed Scylla. Hera then transforms Lamia into a monster who steals and devours other people’s children. Later traditions referred to her as a vampire or succubus that seduced men and fed on their blood.

Here are some little tidbits of info about the lore of the Lamia I found from Wikipedia-Folklorist David Walter Leinweber in Witchcraft and Lamiae in “The Golden Ass” notes that translations and the evolution of the story reveal many vampiric qualities. In Neil Gaiman’s novel Neverwhere, Lamia is a “velvet,” a type of warmth-drinking vampire.

“She became a kind of fairy-tale figure, used by mothers and nannies to induce good behavior among children.” Wikipedia lists Christian writers having warned against the seductiveness of the lamiae.

John Keats described the Lamia in Lamia and Other Poems, presenting a description of the various colors of Lamia that he based on Burton’s book- ‘The Anatomy of Melancholy.’

Melancholy is a very good word to describe the sense of atmosphere in Lemora. There’s a relentless twilight and night world, a pervasive wickedness that blankets the darkness with gloom and dread.

In terms of literary allusions, I can even see a bit of Hansel & Gretel the journey of children who wander through the enchanted woods only to stumble upon a witch who wants to eat them. Little Red Riding Hood, is a tale that has a representation of a ritual of puberty, where the young attractive girl who goes through the process of leaving home is transformed into a woman, who comes to her sexual awakening by the ‘wolf.’

And of course, the more direct identification would be with Sheridan Le Fanu’s Camilla. The most beautiful adaptation for me is Roger Vadim’s Blood and Roses in 1960.

Another connection I could make is the story or long narrative poem of Christabel written by Samuel Taylor Coleridge which also utilizes a central female character who meets a stranger called Geraldine. Familiar as Coleridge was in suggesting mysticism and ambiguity with his The Rime of The Ancient Mariner. Many modern critics seize upon the theme of lesbianism and view it as a feminist poem. Interpreting the powerful mesmerizing presence of the supernatural, and demonic forces that underlie the piece. Geraldine is later revealed to be both ‘sexually and morally’ nuanced.

“Christabel goes into the woods to pray to the large oak tree, where she hears a strange noise. Upon looking behind the tree, she finds Geraldine who says that she had been abducted from her home by men on horseback. Christabel pities her and takes her home with her; supernatural signs (a dog barking, a mysterious flame on a dead fire) seem to indicate that all is not well. They spend the night together, but while Geraldine undresses, she shows a terrible but undefined mark: “Like one that shuddered, she unbound
The cincture from beneath her breast: Her silken robe, and inner vest,
Dropt to her feet, and in full view, Behold! her bosom and half her side— / A sight to dream of, not to tell! / And she is to sleep by Christabel” (246–48)

Even the name Lemora could be a derivation of Lamia or Camilla, it’s very Victorian, Gothic, and macabre- amorous as it rolls off the tongue. Perhaps one question I would ask Blackburn is, did he use as inspiration for the title character Lemora, Waterhouse’s painting of Lemorna the Lamia?

As an adult fairytale that uses film credits like The Reverend, The Old Woman, The Bus Driver, The Ticket Seller, and The Young Man–all characters designated for a fable-the film conveys an atmosphere of sexual repression, religious anxiety, and archetypes of the ‘innocent’ and the ‘absent father’. Lila Lee’s trial of temptation and seduction becomes a sexual journey that is quite unsettling but beautifully rendered.

Lila Lee much like the character of Grace MacDonald in the second feature I discuss Dream No Evil, is also in search of her father. Her authentic father, and prior to that, the ‘heavenly father’ as the church represents the patriarchal figure of fatherhood. In this film, it is challenged by the dark inexplicable forces of the Monstrous Feminine or female abjection which is represented in the form of Lemora who is demonic and Sapphic.

Lemora is lensed through a fantastic eye that translates wonderfully the notion of, the ‘Monstrous Feminine’ and these other modern cultural & classical archetypes. What I think is really fabulous is that the narrative operates from the female gaze, and not the socially constructed male gaze that was common in cinema, but I talk a bit about that later.

And incidentally, I’ll be doing a piece for The Great Villains Blogathon coming up in April, hosted by Silver Screenings, Speakeasy, and Shadows and Satin. I’ll be talking about Gloria Holden’s more sympathetic Contessa Marya Zeleska in Lambert Hillyer’s timeless horror classic Dracula’s Daughter 1936  “Yes, you’ll do very well indeed. Do you like jewels, Lily? It’s very old and very beautiful, I’ll show it to you.” Zeleska says to another blonde nymph Nan Gray as the naive and hungry model Lily. God, I still love that scene! Say if you’re interested drop them a line and join in the Villainous fun…

Lemora: A Child’s Tale of the Supernatural is hypnotic, transgressive, surreal, rebellious and as one of Blackburn’s interviewers said, it has an ‘odd fabulousness’ surrounding it.

Film historians Alain Silver and James Ursini write in their book ‘The Vampire Film: From Nosferatu to Bram Stoker’s Dracula’ that Lila Lee flees, ‘to escape the sexual advances of the minister’. While Lila Lee does embrace him with a burgeoning affection/attraction she is still innocent which makes the relationship very uncomfortable on purpose. Silver and Ursini also perpetuate the ongoing rumor that Lemora was condemned by the Catholic Legion of Decency, rather than by the Catholic Film Board. Phil Hardy and Barry Kaufman claim that it was the Catholic Film Board that condemned Lemora as anti-catholic. “the entire plot of the film reeks of anti-Catholicism” from Demonique #4, FantaCo Enterprises, Albany, 1983, p.3 by Barry Kaufman.

In the big black beautiful book, Phil Hardy edits –‘ The Overlook Film Encyclopedia: Horror’, which I sometimes go to as my reference bible, he writes, “leavened with a fierce anti-Catholicism that recalls not only Communion 1976 (he’s referring to Alice Sweet Alice 1976) but also the works of Luis Buñuel.” Hardy also says the film has “considerable eroticism which details in a most imaginative fashion and with scant regard for conventional ethics the sentimental/sensual education of a young girl…{…} Blackburn’s elaborate yet meticulous mise-en-scene captures the essential amorality and mysteriousness of the world of childhood.”

When asked about the film being banned by the Catholic Church and the Catholic Film Board. Blackburn says he’s not sure if that was ever true. He was told that it had been rated C by the Catholic Legion of Decency and felt honored since Tennessee Williams and Elia Kazan’s Baby Doll (1956) starring Carroll Baker and Karl Malden had gotten ‘the big C’ for condemned too.

During that interview, he was asked why if the film was such a beautiful fable with its ‘odd fabulousness’, why he didn’t make another one.

Richard Blackburn replied, “First of all it was an abject failure.” His initial impetus was the craze of all the vampire films that were being produced at that time. But the film had a dismal release, receiving bottom billing and wound up at drive-in theaters (and that’s bad?) His favorite description of the film was in the Village Voice reviewer called it ‘artsploitation.’  He went on to say, “The reason the film fell through the cracks is that it didn’t have enough gore or action in it to be exploitation and it didn’t have what it would take to be called an art film…”  I think Lemora IS every bit of an art film and it still has the power to cast its unconventional and eerie spell to this day, I’d love to tell Richard Blackburn that myself. I would love to interview him for MonsterGirl Asks.

The Plot

It’s the story of a young girl’s fall from innocence and her sexual awakening real or imagined- she is submerged into a world of erotic images, threatening forces, menacing and horrific while being held captive by a mysterious woman who is surrounded by a legion of sinister undead children with black nails, and an old crone who loves to cackle and scare the bejesus out of her with little folk tunes! As Phil Hardy says, Lemora “(Gilb) attempts to initiate her into the delights of vampirism” Hardy also makes the comparison between Harry Kumel’s Daughters of Darkness 1971 (yet another fantastic vampire flick) and Valerie and Her Week of Wonders (1970) which Goregirl’s Dungeon has highly recommend and I still haven’t had the chance to see it yet. Writer Tim Lucas compares the film to a whisper of Val Lewton, while I’m not sure I can see that, I sort of see why he also mentions director Harrington. There’s a bit of Curtis Harrington in the film’s gritty portrayal of human nature spiraling downward with some supernatural edginess to create a landscape of dread. I’m a huge Curtis Harrington fan. Perhaps the added gangster meets eerie is reminiscent of his Ruby 1977 with Piper Laurie. But that film was four years down the road from Lemora.

The notorious Alvin Lee’s daughter is an ethereal, prepubescent girl of 13 named Lila Lee (Cheryl Smith) who is being raised in the church where she sings in the choir- “Just a Closer Walk with Thee” and is cared for by the Reverend Mueller (director/writer Richard Blackburn) who secretly lusts after the little blonde waif known for her angelic voice. In a newspaper clipping, she is referred to as The Singing Angel. Lila Lee’s celestial other-worldliness draws you in… the film emphasizes how much everyone desires her…

The Reverend addresses the all-female congregation with a fury –“Vicious slander and gossip about our own Lila Lee.”

Being the daughter of a notorious gangster and having an almost trance-like beauty that could be mistaken for the wiles of the devil, the Reverend defends Lila Lee to his congregation as “the most innocent creature on God’s earth.”

It’s the prohibition era in the Deep South. Lila Lee’s father, a gangster brutally murders his wife and her lover while in bed. She is removed from her monstrous parents for more than three years. Reverend Mueller gives a stirring sermon to the gossiping congregation spreading maliciousness about their own Lila Lee- “Must you demand that this poor innocent child be punished as well” -The sins of the father being delivered upon the child.

Her father Alvin Lee, flees and runs over a poor old woman, an almost more refined version of the old crone Solange. He becomes a fugitive from the law and reviled by the whole county as evil, escaping into the backwoods of a clandestine community reigned over with a languid poise by the elegant, enigmatic, and arcane Lemora.

Lila is all too happy when she gets a letter from the mysterious, Lemora, relating the story of how her father is dying and is deteriorating rapidly. He wants to see her before he dies so she can forgive him for his sins.

“Dear Lila, I’m writing you at your father’s request. He is on his deathbed. He constantly asks for you to come and forgive him for any harm he has done to you. Come alone. If you tell of this or bring anyone with you, you will not be taken to him. The instructions to follow are enclosed. Because of your good work and intense devotion to God, I know you won’t fail him. A fellow Christian Lemora.”

Lila Lee sneaks off in the middle of the night from the church and, ‘the Reverend’, though she leaves him a goodbye note.

” I am going to see Father and forgive him. I’m still afraid but I want more than anything to be a good Christian and make you proud of me-Love Lila.”

During her flight, she encounters various salacious rural folk. She sneaks into the back of a car in order to get to the bus station. Hiding down on the floor of the car she overhears the conversation between The Young Man and his girlfriend.

We see the backs of their heads while they talk about Lila Lee. We hear their voices but there is a sense of detachment and an unreal quality because you do not see their faces, their lips moving, or their expressions. The camera angle purposefully removes them from Lila in a way that creates a more imaginary feel to the scene. It is her crossing over the threshold from being the singin’ angel in the choir to passing over on into the borderland of the netherworld of Astaroth.

The Young Man talking with his girlfriend who refers to Lila as ‘Miss Priss’, accuses Lila of being shacked up with the Reverend and if he were him, he’d have one hell of a time keeping his mind on bible studies.- This triggers a flashback for Lila Lee. Reverend Mueller is reading from the bible.

After Lila tries to embrace him with a hug, telling him “he’s so good”, he tells her he won’t tolerate these unseemly displays of affection. Obviously challenged by his own sexual attraction to her, he sends her to her room and opens to the Song of Solomon, the most sensual verse in the bible. “How beautiful are they feet with shoes, O prince’s daughter! The joints of thy thighs are like jewels, the work of the hands of a cunning workman…”

This is cleverly cross-faded over a scene of Lila getting dressed in front of her mirror. When suddenly Reverend Mueller appears in her mirror having opened the door. Or has he? She shudders catching her breath, for a moment turning around to welcome him into her room, a joy of seeing him appear, and then the reverie is over and she is back in the darkness in the backseat of the Young Man’s car.

The rural town folk consist of a host of shady characters- a seedy man peeing on a wall who leers at her, a prostitute looking out the window smoking a French cigar with a red lighting gel cast over her, the reflection of Lila Lee in the window to the right-hand corner is a great effect… There’s a man beating his wife outside a bar, for her infidelity. Her screams are violent and disturbing, as he stops for a moment to gape at Lila “Looking for a good time girlie?”

Then begins music by an unseen bluegrass singer twanging the lyrics of Paper Angel.

“She was holy and divine and I wish that girl was mine. Her eyes they were the bluest of them all. But on that dark black day when she left and walked away… I knew she was a headin’ for a fall…{…} Well I saw her late last night, oh god she was a sight all painted up and colored like a whore. And I knew that wife of mine, the one that’s so divine, and there ain’t no paper angel anymore.” -Paper Angel-Sung by The Black Whole.

She goes to buy her bus ticket but the trip is not part of any regular line, you just pay the driver when you board. The Ticket Seller (Steve Johnson who does a great job of being way too creepy) gazes at her in the same lustful way, offering her chocolates. “What do you like best, soft or hard centers?”  The whole never take candy from strangers trope… another warning for Lila Lee along the way.

She goes to the back where the bus is idling, and so begins her harrowing journey with ‘the Bus Driver’ an uncivilized wild man with crazed eyes (Hy Pyke who played Taffy Lewis in Blade Runner) through the eerie fog-soaked swamp lands and labyrinthine woods on the way to a town named Astaroth.

“You goin’ to Astaroth- You Lila?” His voice and grubbiness make him appear like a shabbily dressed Igoresque skid row bum. The bus sputters and clanks so wonderfully illustrative of the film’s atmosphere of degeneration and disorder.

In demonology, Astaroth is the name of the Crowned Prince of Hell. Although it is referred to as a male figure, he was named after the Canaanite goddess Astaroth.

Lila Lee tries to open the window but the stink of the salt marshes that are rotten gets in her nose… the Bus Driver laughs…

“The railroad stopped going through years ago. Swamps all over the place and hardly aint nobody there… and those people oh god those people. Nobody likes those people. It’s the way they look they call it the Astaroth look.” He starts to mention an epidemic that beset the town, but when Lila asks him about it, he tells her “I don’t know, I don’t know… don’t make me curious (waving his hands ) they don’t like people asking questions. Sometimes they don’t come back” The Bus Driver is himself a puzzling character that Pyke imbues with a strange confusion and agitation. He’s also the one taking her on her way toward her rite of passage.

While on the bus, there’s a wonderful split-image of Lila Lee whose reflection is caught in the bus window. She is framed split down the middle. Symbolic of her journey and the emerging choice she will have to make.

The music that underscores this scene as it descends into chaos, becomes a version of the folk song “There Was an Old Woman All Skin and Bones”. It prepares us for later with the old woman Solange.

Along the way, the bus is taken siege by a strange pack of monstrous creatures who inhabit the forest and make horrible growling, gurgling and bestial sounds as they run alongside the bus. The woods people begin to converge on them, chasing the bus down and pounding on the side panels. -It’s such a frightening scene.

Lila Lee asks the Bus Driver what the attack was- “Those are the ones who have taken to livin’ in the woods… they’re the real bad ones.”

When the bus actually breaks down the driver gets out to take a look under the hood and plans on coasting down the hill, he’s done it before. He takes a rifle with him. Suddenly he is confronted by one of the forest people. He tells Lila Lee to pull the break, she coasts down the hill trying to steer, and crashes the bus. Lila Lee suddenly begins to hear the ungodly monstrous noises of the grotesque creatures coming closer…

A monstrous face appears at the window. here you can see the tribute to Dr. Moreau and Lovecraft- and the wonderful makeup by Byrd Holland.

As they start to break the windows of the bus, a figure in a black hat, and cape, pale face, bloodshot eyes, and fangs raises a wooden stake and slays the creature before it can reach Lila Lee. She cups her hands to her mouth and screams.

Lila Lee is rescued by a mysteriously dark figure, the woman who sent the letter… Lemora (Lesley Gilb) fixates on Lila Lee’s visage in the newspaper clipping about “Singing Angel” with a special fascination and libidinous gaze.

Lemora has summoned Lila Lee to these dark, shadowy woods to be the ‘object’ of her affection and to corrupt the innocence that Lila Lee exudes. Like Lamia, she seeks to digest the very soul of whatever goodness lies within this child. At first, Lila Lee remains locked in a little stone house, taunted by the ‘old woman’ who brings her food and sings her wickedly spooky songs. While in the stone prison, Lila Lee is also visited upon by the ashen-faced children who gabble and cluck at her like devil imps.

Lila Lee faints and the scene cross fades-We hear Lemora’s voice “Burn those things after you carry her to the stone house.” The screen is black as pitch Lemora’s voice has an elegant lucidity.

Out of the blackness comes the hoot of an owl and the sound of crickets as Lila Lee awakens on a cot in the stone house with a small barred window.

The scene- its tone and colors, and the fable quality reminds me of the beauty of del Toro’s Pan’s Labyrinth.

Lila Lee starts to hear a melody on fiddle like a diabolical waltz of “There Was an Old Woman All Skin and Bones” and the cackling of small children.

Lila looks through the bars of the window and sees the silhouette of figures dancing behind the window shades of the large house across the way. The twirling shadows speed up, as the pitch of laughter goes up a wicked octave.

A toothless old crone in a black frock with tattered lace opens the locked door to the stone house, holding a lantern that burns blood red and a plate of food. In an ancient crackly voice, she calls out…

“Mary Jo!” holding up the light that casts the screen into reds and blue. “I’m Lila Lee…Where’s Lemora?” “For a minute I thought you was Mary Jo… same color hair” Evidently Lemora has a preference for blondes. When she asks where her father is, the old woman cackles at her…

The old woman amuses herself having scared Lila Lee… until she hears Lemora calling her name “Solange!!” The Old Woman is suddenly struck with fear. She runs back to the house. Her gate through the eerie nightscape has always left an impression on me. We see her pass the tall dark figure who is standing by the front door, waiting for her. Lemora’s menacing shadow is cast beautifully on the house for extra effect.

The demonic little imps appear at the bars of the window laughing at her… their creepy voices echoing in the night air. She tells them to go away

When the old woman returns to bring Lila Lee more food, she lies in wait and shoves the woman down. Much like Gretel who pushes the old witch into the oven. She makes her escape from the stone house… as the old woman runs after her calling “Little girl… little girl, where are you hiding? If you don’t come out I’ll get Lemora” The moment is so fantastically creepy with Solange calling her little girl and the plucked strings and otherworldly night noises.

Lila Lee hides under the house. And hears her father talking to Lemora.

Alvin Lee who sounds as if he’s suffering from terrible agony-“Just do me that one favor” Lemora assures him, “You’ll feel different when you’re one of us” He says, “I know this is the last time before I change, but if she’s still here., look I don’t want to turn against my own kin” Lemora decries, “It’s not like that at all. You’d be setting her free!”

We hear her as she begins drinking his blood, telling him that she’s so “thirsty”. Solange interrupts to tell her that her little girlie has run off.

“You stupid idiot, you let her run off.” Something startles Lila and she screams… Lemora hears her.

Sustained strings, flute, and clavier play while Lila crawls under the house. A single muted horn note and Lemora appears. Waxen-faced and a dark black satin dress covering her entire body from her the top of her neck down to the black gloves. A provincial wraith…

“Hello, Lila… I’m Lemora” Lila crawls out of the under part of the house like the hole Alice had fallen into.
Lila asks Lemore, “Why did you lock me in?”
Lemora tells her, “It wasn’t to keep you in, it was to keep other things out.”

Walking toward the entrance to the huge house, Lila asks to see her father but she’s told by Lemora that she’s not immune to his disease. She’ll have to wait til tomorrow after the ‘ceremony.’

Inside, the house is a Gothic throwback filled with ornate furniture. Lemora tells Lila to go up to her room and put on the clothes she has laid out for her.

On her way up the stairs, she sees a painting of a small child and two little framed collection of buttons. Perhaps a hint at fetish, the trophies of children Lemora has collected over the years.

Lemora watches her go up the stairs she’s quite taken with the girl. The camera frames Lila from an above angle that makes her look like she’s a small soul in a fun house. It’s an odd angle made to give her the appearance of being lost inside a strange place, which she is.

Neufeld’s sustained high-string note and pensive flutes are perfect for the scene as she enters her room. Heavy dark wood and gold curtains. A plate of raw meat was set out for her to eat.

Lila Lee puts on a pale lilac/dusty rose satin dress, slit provocatively down the front.

She goes to look at herself in the small gold hand mirror but the glass has been removed. She takes her own mirror out of the suitcase. We hear the door creak open, but the mirror casts no reflection of anyone coming into her room at all. It startles Lila, who turns around and sees Lemora standing there, she drops and breaks her mirror.

She begins to untie Lila’s hair ribbons, she has a strange look on her face, as if she has been mesmerized by Lemora’s stare… She begins to appear a bit older already. Lila continues to let down her hair herself… Lemora clasps Lila’s face in her gloved hands, telling her to come downstairs the others are waiting.

Lila walks down the hallway as if in a trance. Her dress is slit provocatively down the front. She now walks in bare feet instead of her little girl’s shoes. Again the odd angle from above, she looks like a woman with her hair down now.

Lila Lee is met by more devilish urchins who cackle and claw at her as she ascends the dark wooden staircase of the Gothic house. The children themselves are a bit androgynous. For me, it is hard to tell if they are mostly girls or a few scattered boys. Their clothes, hair, and jewelry are quite gypsy but do not necessarily reveal this. An interesting gender twist is added to the plot.

As the children sit around in a circle at Lila and Lemora’s feet, the deep strings or it could be a Melatron begins to play the most evocatively haunting melody line. Perhaps one of the most signature themes of the film. The poignant motif symbolizes Lila’s impending transformation while Lemora pours a goblet of blood into glasses.
Lila asks if it’s wine. Lemora says “Sort of.” Lila very defensively refuses, “I don’t touch spirits it’s unchristian.”

“It’s very rude not to do what another does when you’re under his roof… if you don’t enjoy our company you can go back to where you were last night” Lemora hands her the glass and tells her to drink!

Lemora takes hold of Lila Lee and leads her in front of the group to sing for the children.

As Lila starts to sing a very tentative version of  “Just a Closer Walk With Thee”… the children laugh, as she intones the words of the gospel. Lila’s vision starts to go out of focus and she starts to lose her balance.

Lemora catches her.“The drink has done that to you isn’t it nice… now let’s have some music.”

The wonderfully diabolical fiddle version of “Skin and Bones” on the vinyl record sings!

Lemora takes Lila Lee and begins to waltz with her… becoming a twirling, dizzying motion. The room becomes a centrifuge as the children join hands… encircling their Queen and her newly chosen one…

There’s a shelf on the wall with a figure of the great god Pan who watches the waltz in the frame with their shadows twirling to the melody.

The shadows on the wall and the dizzying pace of the waltz remind me of Ridley Scott’s Legend 1985 which was released twelve years after Lemora. The black satin-dressed Mia Sara dances with Tim Curry’s Satan.

“Just give your body up to the music!” Lemora tells Lila Lee excitedly.“The real sin is for a girl to deny herself life and joy especially if she’s as lovely as you…”

Lila Lee espouses “Vanity is a sin.”

then darkness…

Later Lemora helps Lila Lee prepare for the ‘ceremony’ by bathing her. It’s the most erotic scene in the film as Lemora tells her, ‘What an exciting figure you have!’

Lemora acts as if she is a protector and an amorous admirer who has found a new young girl to reign with her. The sallow Lemora speaks sagely to Lila Lee, giving her comforts laced with a sensually sapphic tone. Lemora’s unearthly black nails caress the lily-white flesh of the virginal Lila Lee. Like two lost souls they exist to tempt each other-

Lemora is mesmeric, she tells Lila Lee, –“I really only show people what they really are.” Lila Lee is being tempted away from her faith by the dark forces of evil. By a female seductress, though her male guardian is struggling not to be hypocritical to his faith by the internal desires for Lila Lee. It is this ancient temptress who might be Lila Lee’s descent from grace.

Lemora says, “Tomorrow, after the ceremony, you and I will become blood sisters… and all my power… all my beauty… all my life will be yours to share.”

Soon, Lila Lee uncovers the horrifying nature of Lemora the reigning queen of Astaroth, that she is a vampire who feeds on the blood of children to nourish herself.

The lesser bestial creatures of the woods with decaying and diseased skin, possess a primal ferocity that the more advanced strain of pale-faced fanged vampires do not suffer from. Blackburn referred to these baser forms that are below the status of the other vampires having been inspired by H.G Wells‘ The Island of Dr. Moreau.

Will Lila Lee escape the clutches of this mesmerizing woman? As she journeys through the town, she sees once again that there are two types of beings that exist here. The higher form of vampire wears hooded black cloaks and wields torches and is more human-like. And the lesser bestial, mindless, and monstrous anomalies that roam the town and the surrounding woods. The two are in conflict with each other.

The Reverend has gone in search of his lovely little choir girl. And he finds her…

Is the entire experience a dream, a sexual fantasy- a flash in time, in the blink of a cinematic eye, while Lila Lee is intoning her angelic solos in the choir in front of an all-female congregation? Hhhmmm…

The female protagonist of the film, Lila Lee is the spectator. I also propose that Blackburn created a feminist film. She takes the journey and becomes empowered by it. She is the witness to her own journey while we hold our gaze. She’s the one in control ultimately breaking free of the church. She chooses which path she will take between good and evil, and she takes control of her ‘desire’ before Reverend Mueller can act on his desire.

The Sexual Subject a Screen Reader in Sexuality-Chapter II ‘Desperately Seeking Difference’ by Jackie Stacey
Theories of Feminine Spectatorship:Masculinization, Masochism or Marginality– Stacey discusses Laura Mulvey’s ‘Visual Pleasure and Narrative Cinema’ who uses psychoanalytical theory to base her premise on cinema which depends upon voyeuristic and fetishistic forms of looking. Stacey argues that Mulvey is too restrictive in her identification with only the male gaze. She cites David Rodowick who asserts that “Mulvey’s theory is flawed because she discusses the female figure as restricted only to its function as masculine object-choice. In this manner, the place of the masculine is discussed as both the subject and object of the gaze and the feminine is discussed only as an object which structures the masculine look according to its active (voyeuristic) and passive (fetishistic) forms. So where is the place of the feminine subject in the scenario?” Stacey suggests the one way to fill the theoretical gaps would be to do a thorough examination or analysis of the film’s narrative would demonstrate that “different gendered spectator positions which are produced by the film’s text, contradicting the unified masculine model of spectatorship. This would leave space for an account of the feminine subject in the film text and the cinema audience.”

I won’t divulge anything else about the plot so you can decide for yourself which way you see it unfolding. I will say that the film has an ambiguous mimesis. We are left unsure of what we are witnessing. Is it fantasy or reality? The past or present. Even if it is just a violent reverie, it’s a ‘pretty lie’ that is intoxicating and terrifying and such a cult jewel that shines in the trope of vampire films and one of THE most powerful gems of ’70s horror.

DREAM NO EVIL 1971 also known as The Faith Healer

Integrating the ‘Absent Father’ Archetype

“An unconscious father is a force for tyranny, capitalist domination, and gender warfare” – Robert Bly

I happen to be a fan of Writer/director John Hayes considering he’s responsible for the sexploitation film Help Wanted Female ’68, which is included in my Something Weird Video with the fabulous Aroused 1966. Hayes also directed the outre cool 70s Grave of the Vampire 1972 with Michael Pataki and William Smith., which included a very transgressive scene of a mother nursing her vampire baby with a blood-filled bottle. Hayes also filmed that same year his, Garden of the Dead where members of a prison chain gang inhale experimental formaldehyde, attempt a prison break, get shot down, buried, and rise up as zombies. The atmosphere is really minimalist yet eerie.

I can only characterize Haye’s work by saying it’s… odd. abstract, eerily minimalist and odd, unique, offbeat and odd, strangely compelling and odd…Haha!! I said that word again… but odd is good, it’s what makes some of these obscure shockers from the 70s though low budget and perhaps unintentionally art house, what’s manifested becomes extremely compelling.

I read someone’s review who was commenting on Help Wanted Female- “As usual there’s the bad jazz scores the sex and crime- and that the pretty girl who was NOT a pretty girl.”

I say don’t be mean… and what’s the definition of pretty? That’s such a subjective idea, we’re all beautiful when we put ourselves out there fearless and willing to accept ourselves as is, but I have to agree about the presence of bad jazz being a factor. But say… all that just adds to an exploitation film’s decadent charms. It’s cult & exploitation, not an evening with Thelonious Monk, and John Coltrane for the love of Mike!

Anyway, I digress, back to director Hayes who offers up a very imaginative story that maintains a certain queasy yet surreal atmosphere as it unfolds for us. The colors used in the opening sequence once drab and industrial except for the clothing the children wear dispersed amongst the rows of them that pops with a little bit of 70s flare using stripes and patterns of ivy green, lush teals, and deep mustard. After titles roll the colors are now bright and hazy, seemingly uncanny which helps perpetuate a mood of being caught in a dream world. Often eerie, isolated, and disengaged from the real world Grace is sort of an otherworldly character. Grace MacDonald is the Innocent Archetype eternally hungering, and searching for her lost father figure.

Jaime Mendoza-Nava– score is truly haunting and beautiful. He’s quite the prolific composer, having done these just to name a few of my favorites- The Brotherhood of Satan, The Female Bunch, The Legend of Boggy Creek, The Evictors 1979, and The Town that Dreaded Sundown 1976. The Boys in Company C 1978, Vampire Hookers, Mausoleum 1983.

Lee Fisher -art director for the outre violent- Vice Squad 1982 and Michael March’s set direction is engaging. Fisher seems to be good at imagining the environments of his films quite squalid, creating a hyper sense of dread- I truly loved the scene in the mortician’s room where Grace’s father comes back to life.

The film co-stars Brooke Mills as Grace Macdonald, Michael Pataki as Reverend Jesse Bundy, Mark Lawrence as the Undertaker/Pimp, Edmund O’Brien as Timothy Macdonald, and Arthur Franz plays a psychiatrist. Paul Prokop as Patrick Bundy and Donna Anders as Shirley.

Once Grace and her father are re-united-Grace and her father set up a home at his old ranch. Our revelation, when we gaze upon Grace’s bedroom at the run-down ranch outside of town is a unique scene where Grace’s perception evolves as a warmly decorated space, the camera shows us the contrast from what she sees as an enchanted bedroom to a set piece right out of a scary episode from Rod Serling’s Night Gallery. We see the reality of what surrounds Grace, but she experiences it through her delusion, as a place that symbolizes ‘home’ with her father. The one thing she longed for since she was a tiny child in the orphanage. Speaking of which-

The film opens up with this…

The orphanage with its stark dark militantly drab and cold unchildlike colors, combined with the sparseness. – delivers a sense of desolation and oddness. From the opening sequence, before titles roll, little Grace is calling out for her father, in a place that is wholly frightening and stark like a prison in a child’s nightmare. The scene where Grace is ‘chosen’ by a woman framed headless, is something out of an English children’s fantasy/terror story written by Roald Dahl with the emotionless children lined up for viewing. It’s a very powerfully intriguing segue into the film and the reason I chose to stick with it and see what happens.

Paul Hipp’s dream-like cinematography is very cool He worked with John Hayes on his superb Grave of the Vampire, and Garden of the Dead, Hipp also worked as the photographer on another 70s shocker I love Blood and Lace 1971 with the noir Queen Gloria Grahame which also has this sense of an outlier world of dread and desolation.

Hipp’s got an eye for conveying a scene that feels ghastly and dreadful. Same thing with Devil Times Five 1974 another outre creepy film with the presence of escaped psychotic children. I have to admit I haven’t seen his work on Trader Hornee ’70, or The Boogens 1981 I must have been in the studio recording when it was released in the 80s and shortly there after never felt compelled to rent it on VHS from my local video store, but I’m interested in seeing his television work on The Legend of Sleepy Hollow 1980 & The Fall of the House of Usher 1979.

Now as far as the actress who plays Grace it’s just too bad for the short-lived career of beautiful redhead Brooke Mills. You might have seen her in The Big Doll House 1971, Legacy of Blood 1971 with Merry Anders, John Carradine, and Faith Domergue, The Student Teachers 1973, The Face of Fear (1971) TV movies, and a myriad of appearances on television shows like Marcus Welby MD, Mission Impossible, The Mod Squad, Rod Serling’s Night Gallery’72 tv series (The Tune in Dan’s Cafe, Green Fingers, and The Funeral)

Using the ‘Absent Father’ archetype for a change, rather than the ‘Devouring Mother’, although the complimentary archetype would be the ‘Cronus Complex’ or ‘Oppressive Father.’

“The Cronus Complex is not a murderous tendency per say, since Cronus did not just got rid of his offspring, but a destructive ingestive process which hinders the child’s capacity to exist separately and autonomously from the parent. In consuming his child, Cronus does not only aim to annihilate him but does so by making him part of himself. According to Bolen, since ancient times, the Cronus Complex is a tendency through which male oriented cultures have maintained power. That is evident is systems such as Fascism, one of the most radical mutations of patriarchy.“
– John W. Crandall, The Cronus Complex

In viewing Grace as the ‘Innocent’ archetype, I begin to look at this film as a surreal adult fairytale about Father Hunger (the ‘Absent Father’ in post-modern cultural terms), longing, sexual repression, religious dysfunction, and psychosis.

Or you could view this film as an offbeat story of a girl and her unstable and possessive zombie dad who finally shows up in her life… adversely.

I stumbled onto this film and found it a fascinating little surreal journey. The opening sequence is ‘odd’ and disturbing. Nightmarish and devoid of emotion, with a very hard frame of reference or easily decipherable context. It’s suggestive of a child’s dark night terror as the stark and detached rhythm seems terrifying and alien and yet I couldn’t articulate exactly why, it’s the impression that lingers that strikes me. Even as Grace grows into a young woman, the suffering child still has that air of darkness surrounding her.

It opens with a small girl waking up in a bed in an orphanage-style barracks. The drab cold dark colors and hollow sounds of the ambient natural noise create an environment of alienation. The film sort of took me by surprise because, from the opening sequence, I kept being tugged at by some very unique imagery. In that way, many 70s obscure horror films can do to you. I wouldn’t say that Dream No Evil will remain for me as potent as Let’s Scare Jessica To Death, or Lemora-but I can say that I was surprised by how interesting it was and thought it deserved a little love at The Last Drive In.

Brooke Mills isn’t spectacular at portraying the very troubled Grace MacDonald, but she fills the part nicely with a certain repressed sensuality that manifests as an ethereal otherness that makes it work. The film opens with Grace as a very young girl (Vicki Schreck )in the orphanage who refuses to give up on the belief that her father is coming back for her.

Little Grace screams…“Daddy!” in her sleep, which brings the matrons out to silence her. The next day in a chilling scene, the children all line up like chattel waiting for anonymous people to  ‘adopt’ them.

That day Grace is picked by a family of traveling religious zealots though we don’t see any context for that, we are just told. Years later her foster brother Rev. Jesse Bundy (Michael Pataki) has taken up the bible and become a revivalist preacher like his daddy. Grace accompanies him at the tent revival meetings as his pretty acrobat assistant.

Once Grace has grown up she’s become submersed heavily into the doctrine as a Christian girl, she’s also found a way to seek out her father because Rev. Jesse travels all over. Grace and her foster brother run a traveling church/carnival where the religious locals come to the revival meetings in droves. Rev. Jesse concocts a stunt that he believes will drive the message home- in order to literally demonstrate that “bad people descend to hell” he has Grace dressed in a skimpy leotard, diving down from a great height on a platform he’s built. In this way, Grace is symbolically diving into the pits of hellfire. This gimmick also serves to represent in a sensationalist fashion that the sin of lust will doom you to fall.

After the orphanage scene, it is later in years. We see a hippie-style camper that has been converted into more of a carnival sideshow vehicle that boasts DECIDE NOW TO BE WITH JESUS. Grace hesitates to come out in her strange skimpy costume pale metallic gold sequins and peach knit bathing cap. She looks like a 50s showgirl about to take a dip in the pool when she first comes out of the camper to show Jesse. She begins practicing her depth-defying high dive for the Lord representing the ‘fall to hell’ as a grand finale to the show. She’s grown up in the Bundy family and has now become the assistant to the Carny faith healer/preacher foster brother Reverend Jesse Bundy. Incidentally, Michael Pataki is primal in Dream No Evil, he was also great as a vampire in the way more impressive Grave of the Vampire by director John Hayes.

Grace still has an obsession with finding her father. Rev.Jesse tries to control his lustful thoughts of the beautiful foster sister. The red-headed nymph happens to be engaged to his younger brother Patrick.

The revivalist act ends up in a town where Grace hears news about her father from the town mortician/ladies of the evening procurer. Marc Lawrence who plays the sinister pimp/undertaker as he’s credited on IMDb has a side business of running a whore house filled with ladies of all ages. He tells her that her father has died and is now on the slab in the very ramshackle mortuary basement.

He takes Grace downstairs to see her father who is covered in a sheet. Marc Lawrence looks like a dessicated gangster by now but he’s got quite a huge list of credits best known for playing gangster types. He was also blacklisted in the 50s. Just look at some of his credits – Johnny Apollo ’40, The Monster and the Girl ’41, Hold That Ghost, This Gun for Hire ’42 The Ox-Bow Incident ’43, Dillinger ’45 Blonde Alibi ’46, I Walk Alone ’46, Key Largo ’48, Jigsaw ’49 The Asphalt Jungle ’50.

At the mortuary / whore house (both will always make money right!) Grace finds her father laying dead on the slab in the whore house/ mortuary basement. When she falls apart she wishes him back to life and so he suddenly re-animates killing the mortician.

Grace finally is face to face with her father Timothy MacDonald played by veteran actor Edmond O’Brien. But her father winds up being a very unstable character, who is overprotective of his little Grace. Or could it be that Grace is the one who is unstable and has imagined that her father is still alive?

The two wind up living back at the old ranch together, though the house is deserted and in disrepair. Grace loves to do Irish Jigs for Daddy while he plays the accordion. But Daddy has become a murderous abomination, and when Jesse comes looking for Grace and shows some sexual interest in her, Daddy gets jealous and well you know…

Paul Prokop plays Grace’s fiancé Dr. Patrick Bundy and Reverend Jesse’s brother. He lives in the same house with his fellow medical student friend Shirley played by Donna Anders (Count Yorga Vampire 1970, Werewolves on Wheels 1971) Patrick is a really nice guy who is sexually frustrated because Grace doesn’t believe in pre-marital sex.

Grace refusing to sleep with Patrick eventually frustrates the medical student and sends him into the arms of the beautiful Shirley who’s better for him anyway. They’ve been good friends, understand each other, she’s not delusional and they have chemistry. And the landlady (Pearl Shear) who thinks that Shirley is ‘really a good girl’, turns the cold shower on her so she can wake up and go take her medical board exams and just plain likes the young pair together!

Dream No Evil shucks off its ambiguous narrative for a more abstractly suggested tale of repression, longing, psychosis, alienation, and abandonment. Perhaps even religious zeal can take an impressionable young orphan girl longing for her father and turn her into a delusional mess. Grace has never been given a chance to grow into adulthood normally, her sexual repression and father fixation could likely lead to a psychotic break. But then again, perhaps Daddy has come back to life and is killing the people who desire Grace.

As we take the journey with her we see what her eyes do not, that the ranch is a place dusted over in bleak desolation, a filthy shambles yet what she sees is a warm inviting home the story becomes a tragedy within a horror fairytale. She sees a beautiful canopy bed and we see a grimy mattress. She sees lovely clean wallpaper and we see rot and decay. The two realities are conflicting and it’s fascinating, horrifying, and sad to gaze at the world as Grace sees it.

If John Hayes could have done one thing differently it would have been to remove the sleepy narrator from the film, to allow for merely the imagery to suggest the narrative and not have some disembodied somber voice clarifying things for us, allowing for an even more intricately suspenseful fairytale of the innocent child and the ‘external father rescuer.’

The ‘absent father’ is a universal archetype, stemming from Carl Jung’s work. it’s been described in stories of mythology and popularized as a cultural phenomenon in literature and drama. It inherently belongs to several “negative” paternal archetypes such as the ‘oppressive father’ and the ‘Cronus Complex’ in concert with the theme of the Devouring Mother archetype.

With the ‘absent father’ in order to resolve the paradigm it requires that one go seeking out in order to find and then integrate the ‘authentic’ father early enough in the development of life. This will construct an ‘ego’ that is whole and will manifest itself fully, in the face of the outer world. When it is at its most self-destructive the person will remain eternally childish or puerile.

From Wikipedia-

Postmodernism: the absent father

Whereas the idea of the father complex had originally evolved to deal with the heavy Victorian patriarch, by the new millennium there had developed instead a postmodern preoccupation with the loss of paternal authority — the absence of the father.[19] Alongside the shift from a Freudian emphasis on the role of the father to ‘Object relations theory’ (within psychoanalytic psychology describes how experience affects unconscious predictions of others’ social behaviors, with repeated experiences of the caretaking environment forming internalized images, which usually depict one’s mother, father, or primary caregiver),[1]

and later experiences only somewhat reshaping these early images.stress upon the mother, what psychoanalysis tended to single out was the search for the father, and the negative effects of the switched-off father.[20]^ source-Patrick Casement, Further Learning from the Patient (London 1997) p. 68 and p. 116

Father hunger

Eating disorders expert Margo D. Maine used the concept of “father hunger” in her book Father Hunger: Fathers, Daughters and Food (Nov 1991),[24] with particular emphasis on the relationship with the daughter. Such father hunger, as prompted by paternal absence, may leave the daughter with an unhealthy kind of narcissism, and with a prevalent search for external sources of self-esteem.[25] Maine further examined the longing that all children have for connection with fathers, and how an unmet father hunger influences disordered eating and other mental illnesses.

In contemporary psychoanalytic theory, James M. Herzog’s Father Hunger: Explorations with Adults and Children[26] addresses the unconscious longing experienced by many males and females for an involved father.

Jungians have emphasised the power of parent hunger, forcing one repeatedly to seek out unactualised parts of the father archetype in the outside world.[28] Anthony Stevens, On Jung (London 1990) p. 121; Archetype (London 1982) p. 115

I leave you with a few good fathers…

Hope you enjoyed this double feature at The Last Drive In–Your ever lovin’ MonsterGirl