A Trailer a Day Keeps the Boogeyman Away! 11 terrifying tidbits from 1980-1983

THE ATTIC 1980

“Louise’s life downstairs is a living hell… and upstairs lurks a haunting nightmare!- She’s Daddy’s Little Girl … FOREVER!” 

Carrie Snodgress has always been an actress possessed of great dimension, just watch her as Tina Balsar the persecuted down-trodden housewife in director Frank Perry’s Diary of a Mad Housewife 1970. In The Attic Snodgress is yet again a repressed character Louise Elmore, this time a Librarian who is caring for her cruel and ruthlessly controlling wheelchair-bound father Wendell portrayed by a particularly nasty Ray Milland.

Milland toward the end of his career had started appearing in some of these low budget horror/exploitation films like X, The Man with the X-Ray Eyes 1963, Daughter of the Mind 1969, Frogs 1972. The 80s started to really slide into a kaleidoscope of cheap themes and shock value moments. It doesn’t detract from Milland’s contribution to film history, nor does it malign either his or Snogress’ depth of acting. Director George Edwards  ( produced Frogs 1972 with Milland, Queen of Blood 1966, Games 1967, How Awful About Allan 1970, What’s the Matter with Helen? 1971, The Killing Kind 1973, Ruby 1977 – all these films with the exception of Frogs, Edwards worked with Curtis Harrington as the director.

You can see Harrington’s influence on The Attic as it represents a small enclosed family environment creates psychological demons, mental disturbances or what I call director Harrington’s The Horror of Personality. With most of Harrington’s work the narrative is less centered around supernatural forces building it’s framework around the product of mental illness and the dysfunctional family trope acted out within closed in spaces, where relationships over time begin disintegrating, with acts of cruelty, despair, loneliness, fear and repression- the family then, becomes the monster…

The Attic is an angry, aggressive and psychologically sadistic film, where Snodgress is yet again persecuted and trapped in a dreadful life. The hapless Louise is jilted by her fiancé and left at the altar leaving psychic scars, where she begins to go in and out of reality. Calling the Missing Persons Bureau on a regular basis looking for her lost love. She begins to fantasize about rejecting her abusive father whom she must do everything for. After 19 years of being left alone, Louise doesn’t find much joy in life, accept for drinking and dreaming about trips she’ll never take, committing arson at the Library and spending time with her pet monkey Dicky the Chimp. She is befriended by a co-worker who tries to help bring Louise back into the real world again, but the shocking truth that lurks in that creepy attic won’t stay locked away forever!

The Attic also stars Rosemary Murphy who is usually scary in her own right, at least she scares me since You’ll Like My Mother 1972!

PROM NIGHT 1980

“…Some will be crowned, others will lose their heads”

This is one of the earliest masked killer slasher movies where sexually active teenagers are being stalked on the night of their prom because they were responsible for the death of their classmate years ago. Prom Night features Scream Queen Jamie Lee Curtis who set the trend for good girls or The Final Girl trope… you know- the one who survives because of their integrity, purity and smarts! Also starring one of my favorites Leslie Nielsen and Antoinette Bower.

SILENT SCREAM (1980) us release

“Quick! Scream! Too late! You’re dead”

During her first semester at college co-ed Scotty Parker (Rebecca Balding) is one of several college students who rents a room from Mrs. Engels, the Junoesque Yvonne De Carlo. But there is something very strange going on at this seaside mansion/boarding house–even murder! Mrs.Engels lives at the mansion with her weird neurotic son Mason (Brad Rearden) Scotty is joined by Steve Doubet (Jack Towne), Peter Ransom (John Widelock) and Doris Prichart (Juli Andelman). When Widelock is stabbed to death out on the beach, Police Lt. Sandy McGiver (Cameron Mitchell) investigates and uncovers the family secret. Silent Scream is more eerie and less typical 80s slasher flick, perhaps its due to the weight of the strong cast that inhabit their roles, in what might be a predictable script still possesses that ability to convey the dread in a quietly stylish manner. Co-Produced by Joan Harris

Silent Scream has a claustrophobic melancholic atmosphere instead of utilizing gore it relies more on it’s Gothic gloomy sensibility, a sense of creepy voyeuristic camera work that makes you feel uncomfortable.

Two names -All you need to know to see this eerie obscure 80s gem Yvonne De Carlo as Mrs. Engels and Barbara Steele as Victoria Engels.

DEADLY BLESSINGS 1981

“Pray you’re not blessed”

Director Wes Craven delves into American rural Gothic horror

After her husband Jim an ex-Hittite (Doug Barr) who has been shunned by his people for having moved away, and marrying an outside. One night after they’ve moved back near the neighboring sect, Jim goes outside to find the word Incubus painted on their barn, and then is mysteriously crushed to death by his tractor. A series of grisly murders ensues mostly in broad daylight, as Jim’s widow Martha Schmidt (Maren Jensen) feels increasingly threatened by the sinister neighboring religious community led by the enigmatic Isaiah Schmidt (Ernest Borgnine) who seems to be fanatically obsessed with the idea that Martha is an ‘incubus’ and must be dealt with fire and brimstone!

Deadly Blessing also plants a figure of a dated trope–the ambiguous gender & sexuality of one of the characters. That trope, stems from a time when gay or transgendered characters were represented as obsessive, neurotic & at times, dangerous. I don’t endorse this weak and disparaging area of the plot, yet I allow myself to experience Wes Craven’s provocative film as a slice of horror history from a decade that hadn’t gotten it quite right yet. Where the film could have taken a bold step in expanding on this subplot instead it is fueled by subversive incitement.

Craven’s film ultimately relies on the supernatural subtext that is fueling the horror and leaves the other theme to hang out there on it’s own to be (justifiably to some)- offensive. Too many films with gender fluid characters in past films, were represented by psychos, deviants and killers.

Deadly Blessings co-stars a young Sharon Stone, popular 70s actress (and one of my favorites) Lois Nettleton, Susan Buckner, Lisa Hartman and familiar Craven regular Michael Berryman. Directed by Wes Craven

Some IMDb Trivia

Sharon Stone’s first big speaking role in a theatrical feature.

The name of the isolated rural farm where the farmers and Hittites lived and worked was “Our Blessing”.

Wes Craven compared his work with actor Ernest Borgnine to John Carpenter’s work with Donald Pleasance in the original “Halloween”. He states that Borgnine was the first “big name actor” he had worked with and was at first intimidated by the actor.

Ernest Borgnine had to be taken to the hospital to be treated for a head injury following a mishap involving a horse and buggy. Moreover, Borgnine returned to the set to continue acting in the film three days later.

Actor Ernest Borgnine, who had won a Best Actor Academy Award for Marty (1955), which also was Borgnine’s only ever Oscar nomination, was nominated for a Golden Raspberry Award for Worst Supporting Actor for Deadly Blessing (1981), but lost out on the Razzie to Steve Forrest for Mommie Dearest (1981).

THE INCUBUS 1981

“The dreams. The nightmares. The desires. The fears. The mystery. The revelation. The warning: He is the destroyer”

WARNING: Though not overtly graphic Incubus is suggestive of rape. For anyone who might be triggered by sexual violence in film, I would advise for you to skip this portion of the post and/or the film entirely!

Back in the day when I read a lot of horror fiction, I have a vague recollection of Ray Russell’s (Mr. Sardonicus 1961, Premature Burial 1962, X-The Man with The X-Ray Eyes 1963), novel knocking me out with it’s supernatural mythology and it’s brutality. Of course when it was adapted to the screen in 1982 directed by John Hough (The Legend of Hell House 1973, Dirty Mary, Crazy Larry 1974, The Watcher in the Woods 1980, American Gothic 1987) you know I was there with my milk duds, raisinets, popcorn and large icy cup of Pepsi expecting something powerful and Incubus collided with the accepted one-gendered fiend that I had grown up seeing within the constraints of a fairly “cultural conservative” as Carol Clover puts it, driven classical horror industry, stories like werewolves, vampires, mummies, phantoms and mad doctors turned into vile fiends.

As Carol Clover states in her Men, Women and Chainsaws: Gender in the Modern Horror Film-“stories that stem from the one-sex era, and for all their updating, they still carry with them, to a greater or lesser degree, a premodern sense of sexual difference…}…{and some people are impossible to tell apart (the figure in God Told Me To who is genitally ambiguous -the doctor did not know what sex to assign, the pubescent girl in Sleepaway Camp who turns out to be a boy, the rapist in The Incubus whose ejaculate consists of equal parts of semen and menstrual blood.”

Incubus is a supernatural film that sneaks into the 80s but carries with it the demonology sensibility of the early-mid 1970s, The Exorcist (1973), The Omen (1976). Adapted from Ray Russell’s disquieting novel about a demon with an dangerously sized phallus who can incarnate in human form, committing several savage sexual assaults and murders in the small California town of Galen. John Cassavetes plays Dr. Sam Cordell who examines the survivor of one of the assaults and is disturbed by the violence of the attack, learning that her uterus has been ruptured. When the local librarian is killed, John Ireland is his usual brackish self this time playing Sheriff Hank Walden and team up believing that these brutal attacks are the work of only one perpetrator and not a gang. Kerrie Keane plays a reporter Laura Kincaid who insinuates herself into the investigation and begins an affair with Sam. Erin Flannery plays Sam’s young teenage daughter Jenny who is dating Tim Galen (Duncan McIntosh) who has nightmarish visions of the attacks while he is in a sleeping state. His Grandmother Agatha (Helen Hughes -Storm of the Century 1999 tele-series) tries to convince her Grandson that he is not responsible for these horrible events, but she knows more than she is telling, about the arcane secret the town is hiding and the true history of the venerable family name of Galen.

NIGHT SCHOOL 1981

A is for Apple B is for Bed C is for Co-ed D is for Dead F is for Failing to keep your Head!

Aka known as Terror Eyes

Night School has an unnerving tone, an almost oppressive atmosphere that looms over the film. The 80s was fertile for the slasher films that were popping up in variations of the same narrative, using different methods of death as the centerpiece to highlight the story. In this film, a mysterious killer is decapitating students at a night school for women. I won’t reveal the killer, but I will say that there is misogyny afoot. Originally picked to direct was Alfred Sole, best known for his phenomenal psychological horror masterpiece Alice, Sweet Alice (1976) which would have most definitely improved on the depressing aura the film give off. Directed by Ken Hughes who wrote the screenplays for The Trials of Oscar Wilde 1960 and Chitty Chitty Bang Bang 1968. He direction was superior in the dark and dogged Wicked As They Come 1956 starring Arlene Dahl and Phillip Carey.

Night School stars Rachel Ward, Leonard Mann and Drew Snyder.

ALONE IN THE DARK 1982

“They’re out… for blood! Don’t let them find you!”

Along in the Dark is a highly charged psycho thriller that wants to be a black comedy. The inmates on let loose upon an unsuspecting town and mayhem ensues when they target the home of Pleasance’s (Dr. Leo Bain) therapist Dr. Dan Potter (Dwight Schultz) psychiatrist. During a statewide black out, a group of 3 particularly nasty homicidal maniacs get free from their maximum security ward at the mental Institution and set out on an adventure. Alone in the Dark opens with Donald Pleasance as a short order cook who has gone berserk and wielding a meat cleaver. Martin Landau is splendid as crazed Byron ‘Preacher’ Sutcliff who likes to set things on fire. Then there’s Erland Van Lidth (from The Wanderers 1979) as a sex maniac Ronald “fatty” Elster with a penchant for younger kids. The best psycho next to Landau, is Jack Palance. The Special Effects are by Tom Savini.

Alone in the Dark is a frenetic ride and you must watch out for the scene when Preacher insists he wants the mailman’s on the bicycle’s hat!

CREEPSHOW 1982

“The Most Fun You’ll Ever Have… BEING SCARED!”

An anthology which tells five terrifying tales based on the E.C. horror comic books of the 1950s. Directed by George A. Romero, with the original screenplay by Stephen King. Stars include Hal Holbrook, Adrienne Barbeau, Fritz Weaver, Leslie Nielsen, Carrie Nye, E.G. Marshall, Viveca Lindfors, Ed Harris, Ted Danson, Stephen King,

HALLOWEEN 3: SEASON OF THE WITCH 1983

After the failure of Halloween II (1978) to excite people at the box office, John Carpenter decided to put a different twist on the creepy goings on for Halloween III (1983) and adapt a script from Nigel Kneale who wrote the Quartermass series, who removed his name from the credits, leaving Tommy Lee Wallace as the writer. I do not hate this film in the way that other fans do. I rather like the odd and malevolent tone of the film, like a dark Halloween fairy tale journey. The idea, children all over America can not wait to get their hands on 3 frightfully popular offerings of rubber masks for Halloween. The jingle for the TV ad alone is enough to send suspicious shivers up a more discerning eye. There is a plot run by an old Druid toy-maker (Dan O’Herlihy) who is perfectly menacing and wants to actually harm the children once they wear the deadly masks, in order to bring back the olden days of black witchcraft and magic. There’s also a sense of a vengeful bitter spirit in Conal Cochran (O’Herlihy) toward consumerism and the misguided exploitation of Halloween.

Halloween III: Season of the Witch also stars Tom Atkins and Stacey Nelkin.

THE SENDER 1982

“Your dreams will never be the same.”

This is British director Roger Christian’s first feature film he had worked as assistant art director on the tense thriller And Soon the Darkness (1970)

The Sender works on so many levels, first of all it stars an impressive cast of accomplished actors, Shirley Knight, Kathryn Harrold and Zelijko Ivanek. 

From Kim Newman’s Nightmare Movies talks about the trend that began with Brian DePalma’s Carrie (1976) “created a briefly popular horror movie sub-genre, the ‘Psichopath’ film. Damien Thorn and Carrie White, like Jim Hutton in Psychic Killer (1975), Alan Bates in The Shout (1978), Lisa Pelikan in Jennifer (1978) Robert Thompson in Patrick (1979) and Robert Powell in Harlequin (1979) are ‘Psichopaths’, seemingly ordinary individuals with hidden, awesome paranormal powers. The wish fulfillment fantasy element of the Psichopath film is obvious.The usual formula finds the Psichopath humiliated, abused and pushed beyond endurance, whereupon immense mental powers are unleashed in an orgy of mass destruction.”

I would also include Brian DePalma’sThe Fury (1978) featuring Amy Irving who possesses the psycho-kinetic powers.

When The Sender (Ivanek) is sent to an Institution after a public suicide attempt, psychiatrist Kathryn Harrold as Gail Farmer realizes that he possesses the ability to channel his frightening and often volatile visions to receptive people on the psyche ward. There are truly enigmatic hallucinatory segments of the film which creates real apprehension and shivers. One particular scene where they are juicing Ivanek with electro shock therapy, his mental waves send a storm of havoc through his personal pain. In the midst of this theme there lies an even dark more disturbing element to the story. There are ghostly visitations from his creepy mother played by the amazing Shirley Knight as Jerolyn.

I have followed Shirley Knight’s underrated and outstanding career from her divine performance as Polly in Sidney Lumet’s The Group (1966), tv series Naked City 1962, The Eleventh Hour 1963, as the gently Noelle Anderson in The Outer Limits 1963 episode The Man Who Was Never Born co-starring Martin Landau. The Defenders 1964, The Fugitive 1964-66, Petulia 1968, The Rain People 1969, The Bold Ones, Circle of Fear, Streets of San Fransisco 1973, Medical Center, Marcus Welby, M.D, Murder, She Wrote, Law & Order 1991 and more… The gravity with each of Knight’s performances has a quality that draws you into her orbit –experiencing her as genuine and engaging. Even as the wraith like mother figure who comes calling on her son- The Sender, Knight makes you believe in the low-key, spine-chilling moments on screen. She is the catalyst to The Sender’s secret dilemma.

At times The Sender sends it’s universe into mayhem, at other times it’s a very creepy, restrained atmospheric horror story that is perhaps one of the best films of the 1980s.

CURTAINS 1983

The one impression I took away from Curtains is the iconic sinister hag mask that the killer wears and the scythe or sickle they wield as they creepily skated across the small pond. It’s the kind of moment from a moment that stays in the brain forever!

This stylish Canadian horror film is directed by cinematographer Richard Ciupka (Atlantic City 1980) Curtains stars John Vernon as the typically caustic alpha male Jonathan Stryker director and British Scream Queen Samantha Eggar  (The Collector 1965, Doctor Doolittle 1967, The Dead Are Alive 1972, A Name For Evil 1973, All The Kind Strangers 1974, The Seven Per-Cent Solution 1976, The Brood 1979) who plays Samantha Sherwood an actress who has always gotten top billing in Stryker’s works and in his bed. Samantha believes she is getting the role of a lifetime, the chance to play ‘Audra’ in his next film. Stryker insists that Samantha inhabit the role, to bring out the realism of Audra’s character by having herself committed to an asylum as background research. (It seems Audra was a psychiatric patient.) Stryker is a sadist and leaves Samantha in the hospital for an indeterminate amount of time, while he auditions other young actresses- each who have their own motivations for desperately wanting the part.

Samantha escapes her confinement and goes back to the menacing old mountain cabin during a snow storm, where Stryker is putting the various women through their acting trials.

Interesting that the character of Samantha in studying the mindset of a mentally ill woman, becomes too well aware of insanity during her own ordeal. The film does a particularly effective job of projecting the intensity that actors experience when trying to lose themselves in a role, keeping their footing in reality.

At the center of this interesting chamber piece is the psychopath in a nightmarish old hag mask who begins killing off the women!

Curtains also stars Linda Thorson (Tara King in The Avengers 1968-69), Anne Ditchburn, Lynne Griffin (Black Christmas 1974) Sandee Currie, Lesleh Donaldson, and Deborah Burgess. 

According to Mark Allan Gunnells in his essay in Hidden Horror edited by Aaron Christensen-Curtains took 3 years to make it to it’s release due to reshoots and rewrites. “It is suggested that a lot of the problems stemmed from producer Peter Simpson who, having produced the Jamie Lee Curtis vehicle Prom Night, wanted another straight forward horror flick. Director Richard Ciupka, on the other hand, chose to go against the established slasher grain, bringing more European sensibility to the production. The original screenplay even had a supernatural element, with a creature designed (but never used) by makeup legend Greg Cannom (…) As Gunnells points out about the films many chilling scenes, a few that stand out are the dream sequence with a creepy life size doll and the chase scene that involves a hiding place that winds up becoming a “deathtrap.”

 

This is Your EverLovin’ MonsterGirl sayin’ See ya round the snack bar! Save me a big box of Raisinets!

From the Vault- Russ Meyer’s The Seven Minutes 1971-

THE SEVEN MINUTES 1971

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The Seven Minutes 1971 is based on a novel by Irving Wallace. Directed by provocateur Russ Meyer (Lorna 1964), Faster, Pussycat, Kill! Kill! & Mudhoney(1965) with a screenplay by Richard Warren Lewis and an uncredited Manny Diez. This film comes on the heels of his hit at FOX with Beyond the Valley of the Dolls 1970. (Dolls with a screenplay by Roger Ebert) Meyer and Fred Mandl (Checkmate, The MunstersThe Twilight Zone, The Fugitive) create a great visual romp with the cinematography. The opening titles roll over the first almost seven minutes of the film as we hear the ticking of a clock…

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With a very unusual cast of character actors starring Wayne Maunder as Mike Barrett, Marianne McAndrew  (Hello Dolly 1969, The Bat People 1974) as Maggie Russell. Philip Carey (I’ve always been amazed at how much he reminds me of Charlton Heston) as District Attorney Elmo Duncan.

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Phillip Carey has always reminded me of Charlton Heston in stature and mannerism- great underrated character actor….

The awesome Jay C. Flippen as Luther Yerkes, Edy Williams as Faye Osborn, Lyle Bettger as Frank Giffith, Stanley Adams as Irwin, Jackie Gayle as pornographer Norman Quandt, Ron Randell, Charles Drake, Olan Soule and John Carradine as Sean O’Flanagan, Harold J. Stone and Yvonne De Carlo as Constance Cumberland.

John Carradine
the ubiquitous John Carradine. I could watch him in anything… he tickles me…
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the beautiful Yvonne de Carlo here as Constance Cumberland movie actress.
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love love love that Yvonne de Carlo- a kindly beauty (I met her on the set of Laugh-In at the Westbury Music Fair in the 70s while taping the show live… She was an absolute gem, warm hearted and filled with tangible grace.)

Music by Stu Phillips (Quincy M.E.) with Lionel Newman supervising. BB King sings Seven Minutes.

‘The Seven Minutes’ refers to an artistically erotic banned book published thirty five years ago in Paris, that essentially opens up the floodgates for the public discourse about pornography, censorship, violence against women and the dual standards during a time when morality was ambiguous. You know, just like today.

the titles

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Argo Book Stores clerk played by Robert Maloney… arrested for knowingly selling smut… convenient scapegoat for the cause.
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Charles Drake plays vice cop Kellogg entrapping the poor Mr Fremont book seller for being a clerk where an allegedly filthy book is being sold.

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A bookstore clerk is indicted for selling the obscene material which leads to a court trial. There is also the question as to whether this licentious book actually led to the rape of a young girl. The film is part trial based as the defense lawyers try to hunt down any clues that would prove the author of the book was not a smut merchant but trying to express an artistic viewpoint which can not be silenced by censorship.

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Wayne Maundy as Michael Barrett defense attorney for bookseller Fremont

The author and the mystery surrounding their identity is key to the plot. Meyers does a high spirited job of developing this narrative with engrossing scenes that portray a society of zealots and self serving neophytes in turmoil with themselves. All amidst a groovy 70s palate that’s nostalgic and filled with a colorful verisimilitude.

The film opens with some great 70s devil may care by composer Stu Phillips. At first we see a beauty chasing her dog passed a small storefront. The story reveals that the vice bureau is staking out the ARGUS book store, as Sgt Kellogg (Charles Drake) walks in with his cigarette box tape recorder ready to entrap the clerk for selling smut. He asks the young bookseller for something ‘brand new -unusual, ‘something you wouldn’t find in an ordinary library.’ The clerk (Robert Maloney) just tells him to look around, the jackets tell the story pretty well.

Kellogg casually asks for one particular book on display The Seven Minutes by JJ Jadway and the bookseller repeats the title ‘Oh yeah” Kellogg remarks, “That’s a pretty sexy cover ain’t it?” As Kellogg ogles the pretty blonde talking to the young clerk who tells him she’ll see him later.

Sargent Kellogg (Charles Drake) “You read it?” Clerk -“The new addition at least… the first one was banned thirty five years ago.” Kellogg- “How come it was banned?” Clerk– “Cause it was considered obscene” Kellogg- “Do you think the book’s obscene?” Clerk– “Why don’t you buy the book and find out for yourself.” “How much is it?” ” $7.30 with the tax.”

“Wrap it up… You the manager around here?” Clerk-“yeah, the day manager.” Kellogg-“Who do I bring it back to if I don’t like it” the clerk answers– “Fremont, Ben Fremont.” Kellogg waves.

Kellogg’s partner is tape recording the conversation from the car. “Took you long enough.” “Literary conversations take a little doing, we better start comparing, same jacket same title, same publisher, same publishing date and copyright… Let’s pay Mr. Fremont another visit.”

They arrest him for knowingly selling obscene matter which is a misdemeanor in the state of California. And thus starts the ball rolling in this film. As the powers that be, seek out district attorney Duncan who feels that The Seven Minutes would be found obscene if taken to court.

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Mike and Faye Osborne are bed pals. She’s the spoiled daughter of an influential father.
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Cars the way they used to look… oh those were the days.
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never had one of these… but I know people who did! cool…70s memorabilia. Even the brown striped sheets.

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the hair and the groovy chick appear later on at a funky club but I couldn’t resist putting her in the visual time capsule with the volkswagon bug and the phone and Selleck…teehee
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Mr Selleck don’t you look fine! He plays the publishers son Phil Sanford of Sanford Publishing. 

Check out that cherry Volkswagon and Corvette, check out that cool 70s phallus phone, Check out that wild moppy fro..check out that really young Tom Selleck as the publishing guy… who calls hot shot attorney Michael Barrett (a very cool Wayne Maunder) who is representing the publisher Phil Sanford (Tom Selleck) who’s in a panic about the book clerk Fremont going to jail for selling one of Sanford House’s books.

The tower of self righteousness Elmo Duncan the D.A. (Phillip Carey) wants to be propelled into the Senatorial seat in California. The powers that be who want him to become Senator conspire to exploit this contrived issue of corruption & decency so Duncan has a powerful platform to run on. This elite cabal want to build a state wide case in which Elmo Duncan can fight the ‘Smut Merchants.’

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Defense Attorney Mike Barrett tries to appeal to district attorney Duncan.
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District Attorney Duncan looms large as the figure of ethical fortitude.
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the secret cabal setting up the scenario for Duncan to influence public opinion and win the election. Stanely Adams, Olan Soule & Jay C. Flippen

They have a political agenda to stamp all youthful violence incited by salacious material in reading matter and films, and so this cause has become the lynch pin with which they hope to win an election on, making ‘The Seven Minutes’ the subject of their campaign.

Meanwhile, a violent rape takes place involving the son Jerry (John Sarno) of a wealthy advertising tycoon Frank Griffith (Lyle Bettger) who owns a copy of The Seven Minutes and was present at the time of the assault committed by his psychotic friend, the one who actually commits the brutal rape.

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The rape scene is handled with quick cuts interwoven with Wolf Man Jack doing his thing on the air. It’s all very frenetic as the soundtrack “love train” is sung by Don Reed.

The prevailing secret surrounding pathetic Jerry Griffith (John Sarno) is that he’s been emasculated by his domineering father and now can’t get it up, so he’s impotent sexually and in helping Sheri Moore (Yvonne D’Angers) while she’s being attacked by his violent friend.

Jerry takes the blame for the rape, refuses to talk about it, there by implicating himself as an impotent sissy and allows the lynch mob and voyeurs to assert that Jerry would not have committed such an act if the The Seven Minutes hadn’t been available to him. Duncan is now convinced that a clean boy wouldn’t have done the crime if it weren’t for the availability of the dirty book.

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this is Shawn ‘baby doll’ Devereaux -well it sure ain’t Tennessee Williams and Elia Kazan’s vision of Carroll Baker is it…

These hypocritical old cronies have young girls of their own on the side, watch pornography while salivating at the mouth. Yerkes has a girlfriend he calls ‘baby doll’ who dances provocatively for these guys. She’s got ample boobs (It is a Russ Meyer film after all) hanging out of her 70’s style yellow hot pants. Amidst the interesting subject matter Shawn ‘Baby Doll’ Devereaux gyrates and inserts herself into the frame so show us the hypocrisy of these old farts who condemn others for their own personal agenda all the while being the worst kind of purveyors of sinful behavior.

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the wealthy Frank Griffith that wants all this smut taken out of the reach of impressionable teens like his son. What’s carefully framed by Meyers playing in the background is a porn film that the men have been reviewing and enjoying way too much-we witness the HYPOCRISY

Russ Meyer had his own dealings with censorship so the subject is probably of very personal substance for him. He does a fantastic job of pointing out the duality of persuasions. And he builds the story really well here. Showing the belligerence by equal sides of the coin toward a moral center and a society ripping at the shreds of personal freedom to express, create and destroy.

Wayne Maunder The Seven Minutes

Whether you’re an avid Russ Meyers fan or just think you might like to venture into the complex questions the film evokes, presented in that real 70s style The Last Drive In weeps for most days, it’s a film worth watching, even just to spot the few character actors that pop up on the screen like baby doll’s and Faye Osborne’s (Yvonne & Edy) eh hems… well you know… the cleavage shot!

What appears on the surface as a controversy surrounding a banned book that contains alleged salacious material-The defense evokes some good examples of Henry Miller’sTropic of Capricorn’ or, D.H. Lawrence’s ‘Lady Chatterley’s Lover’ etc.

What manifests is an interesting commentary on censorship, masculinity and the spurious connection between perceived immoral content and violence in society..

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Manhood and masculinity is a texture that is not necessarily used as the theme in the story, but let me tell you it is all pervasive with images of Duncan heaving his heavy weights as he sweats and works out in front of Mike, spouting his holier than thou rhetoric. It was almost masturbatory.

He gave Michael that “politician’s holier than thou number” Duncan was hostile while he pumped weights in front of the intellectual Mike Barrett. A dueling of masculinity and the question of causality with pornography and violence against women.

Duncan talks to a church official about ‘freedom’ Duncan– “We only want to penalize those who would corrupt it.”

Duncan and his reprehensible comrades belong to a group called Strength Through Decency.

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The acronym STD... was this intentional? Probably. It’s hilarious as these types of organizations do spread like a social disease. They’re against lust, motorcycles, homosexuals and lesbians. All the factors that made the 70s so dangerous of course. Those lustful lesbians on motorcycles riding down 5th avenue in NYC wreaking havoc with our delicate morality. Why I’m surprised we all survived it…

So as much as the words “smut merchants’ are bandied around, and the question of censorship takes priority in full view, the underlying sub-context is the posturing of masculinity and the double standard of sexism & classism and who gets to play and who must obey.

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Marianne McAndrews is fabulous as Maggie Griffith. I really dig those orange orbs… truly the light fixtures I mean…

yvonnedecarlo courtroom

I won’t get into story behind the mystery or the trial, the story behind Jerry’s impotence, the elitism, the ultimate reveal about the author of The Seven Minutes. The media frenzy that occurs which feeds on the sensationalism of the situation who condemn the book but want to hear about the details of rape victim Sherri’s violation.

Is The Seven Minutes a beautiful novel about a woman’s awaking or really filthy trash. You’ll have to find out… but I’ll say that Russ Meyer’s The Seven Minutes is a great addition to the social conscious sexually charged films of the late 60s & 70s like Roger Vadim’s Pretty Maids All In a Row, and Robert Thom’s  Angel, Angel Down We Go 1969…

Your ever loving MonsterGirl.

The Film Score Freak Recognizes: Mark Hellinger and Jules Dassin’s Prison Noir Masterpiece Brute Force (1947) & Jo Gabriel’s ‘The Simple Truth’

“HUMAN DYNAMITE! Told the Raw, Ruthless “KILLERS” Way!”

BRUTE FORCE 1947

CapturFiles

Produced by Mark Hellinger and directed by Jules Dassin, the film is a strikingly potent Prison Noir Masterpiece. Brute Force (1947) is one of my all time favorite films that transcends genre labeling. The entire cast performs the piece like a well oiled Tanker filled with nitro glycerine speeding out of control. With a collection of characters pushed to the brink of fury, dominated by a sadist who reigns over the social institution and the beautiful women who wait for the men who are never coming home.

Richard Brooks wrote the screenplay and William H Daniel’s was responsible for the explosive cinematography that grips you by the throat. With an equally compelling score by the master composer Miklós Rózsa.

Brute Force

Brute Force 2

Brute Force_3

Starring Burt Lancaster is Joe Collins, Hume Cronyn is the savage and psychopathic Captain Munsey, Charles Bickford is Gallagher, Yvonne De Carlo is Gina Ferrara, Ann Blyth plays Ruth, Ella Raines is Cora Lister, Anita Colby is Flossie, Sam Levene is Louie Miller #7033, Jeff Corey plays the rat ‘Freshman’ Stack, John Hoyt plays Spencer, Jack Overman is Kid Coy, Sir Lancelot is Calypso and Jay C Flippen is Hodges the guard.

I couldn’t resist mashing up in the mixing bowl, this brutal bit of noir with my tough as satin nails ‘The Simple Truth’ somehow the confluence of visual collective upheaval and raw honesty of my song… a track off my debut album ‘Island’

Island

for the international label Kalinkaland Records, just seemed to feel right to me… I hope you enjoy this little homage. Here’s MonsterGirl as Jo Gabriel lending her music to a fire storming montage of images from Brute Force

Always brutally truthful -Your MonsterGirl

Postcards From Shadowland No.7

La Belle et la Bete (1946)
Caged (1950)
Criss Cross (1949)
Devil Girl From Mars (1954)
Les Diaboliques (1955)
Experiment in Terror (1962)
Les yeux sans Visage (1960)
Les yeux sans visage (1960)
Gloria Grahame The Cobweb (1955)
I Bury The Living (1958)
Island of Lost Souls (1932)
Kiss The Blood Off My Hands (1948)
Lady in a Cage (1964)
Mother Joan of The Angels (1961)
Belle et la Bete (1946)
Strait-Jacket (1964)
Sunrise (1927)
The Haunting (1963)
The Queen of Spades (1949)
Vampyr (1932)
The World’s Greatest Sinner (1962)