Category Archives: Horror

Vampyr | The uncanny 1932 German horror returns to the big screen with an all-new 2k restoration for its 90th anniversary

“★★★★★ A vampire film like no other… a waking nightmare of eerie, ethereal horror” – Total Film

“As close as you get to a poem on film” – Guillermo del Toro 

Courtesy of Eureka Entertainment comes the release of the 2K restoration of director Carl Theodor Dreyer’s enduring 1932 Germany horror Vampyr, in cinemas (UK & Ireland from 20 May) and on Blu-ray as a part of The Masters of Cinema Series (also 20 May).

The first foray into sound filmmaking by one of cinema’s pivotal artists, Vampyr remains a cornerstone work of the horror genre. The dreamlike tale of an occult-obsessed student’s visit to the small French village of Courtempierre, as he is drawn into the unsettling mystery around a stricken family’s struggle with malevolent forces, remains an unparalleled evocation of the uncanny.

Adapting Sheridan Le Fanu’s 1872 story, In a Glass Darkly, Dreyer’s ceaseless innovation delivers a tour-de-force of supernatural phantasmagoria and creeping unease, via audacious camera work and sound design, as well as a mesmerising performance from the film’s producer, aristocrat Nicolas de Gunzburg (credited as Julian West), in the central role of occult student, Julian West.

Presented from an all-new 2K restoration by the Danish Film Institute (completed in 2020), and taking more than a decade to complete, this is regarded as the most definitive incarnation of Vampyr possible.

LIMITED-EDITION BLU-RAY (3000 COPIES) FEATURES
• Hardbound Slipcase
• All-new 2K digital restoration of the German version, with an uncompressed mono soundtrack
• Optional unrestored audio track
• Audio commentaries from critic and programmer Tony Rayns and Vampyr fan Guillermo del Toro
• Visual essay by scholar Casper Tybjerg on Dreyer’s Vampyr influences
• Interview with Kim Newman on Vampyr‘s place within vampire cinema
• Two interviews with music historian David Huckvale
Carl Th. Dreyer (1966) – a documentary by Jörgen Roos
• Two deleted scenes, removed by the German censor in 1932
The Baron: short MoC documentary about Baron Nicolas de Gunzburg
• Optional English subtitles
• Collector’s booklet featuring rare production ephemera, a 1964 interview with Baron Nicolas de Gunzberg, and essays by Tom Milne, Jean and Dale Drum, and film restorer Martin Koerber

VAMPYR Limited Edition Blu-ray available to order from the Eureka Store https://eurekavideo.co.uk/movie/vampyr-limited-edition-box-set-3000-copies/

VAMPYR 90th Anniversary Screenings www.vampyr90.co.uk

Demonia (1990) | Lucio Fulci’s satanic sisters shocker gets a UK 4k release

From Arrow Video comes the UK release of the 4K restoration of Lucio Fulci’s 1990 Sicily-set supernatural shocker, Demonia, alongside a stunning array of special extras – including the 2021 documentary Fulci Talks, in which the maverick Italian director spills all about his oeuvre.

While excavating an ancient Greek amphitheatre in southern Sicily, Canadian archaeologist Professor Paul Evans (Brett Halsey) and his team set up camp near a medieval monastery where, in 1486, five heretic nuns were crucified for worshipping the Devil. Evans’ protégé, Liza Harris (Meg Register), has been having visions of the nuns, and when she finds their skeletons in the crypt, she awakens the vengeful spirit of the Abbess. Let the killing begin!

Demonia is by no means one of Fulci’s best films, but it’s not his worst either. In fact, despite its myriad of flaws (like the faulty gauze camera effect) and its serious lack of a decent budget (which Stephen Thrower elucidates on his in his excellent commentary), there’s a lot to like.

First up is Brett Halsey, one of Fulci’s favourite actors. He brings much gravitas to an otherwise lacklustre supporting cast (although his character is a mean-spirited misogynist bastard).

Next are the film’s stunning Sicilian settings, including the Antiquarium di Eraclea Minoa near Agrigento and the monastery of San Pellegrino in Caltabellotta, just an hour’s drive from Palermo (I’m so visiting when I next return to Sicily). Also featured is a deconsecrated church crypt in the town of Sciacca containing real-life corpses (I do hope I can get access, too).

Then there are a couple of disturbing Fulci-esque set pieces, including a baby being burned alive, Lino Salemme’s butcher having his tongue nailed down after being attacked by a carcass of meat, and a young boy watching his father’s intestines spilling out as he is quartered in a trap unwittingly set by the soon-to-be blood-splattered child. Oh, and the award for the most hilarious of Fulci’s eyeball gouging set-ups goes to the cat attack on Carla Cassola’s medium (using obviously stuffed kitties).

To make up the film’s running time, Fulci plays Inspector Carter, who is investigating the murders, and his beloved boat (not the Mornin Lady II) also makes a cameo. Demonia never got a theatrical release, and it wasn’t until 1998 that it made its way to VHS (in Japan) and then DVD in 2001. But now it’s heading to Blu-ray; it’s ripe for a reappraisal.

Demonia is presented here in a brand-new restoration, and unlike the pics I’ve used in this post, it looks terrific (though that gauze effect becomes more noticeable, as do the lame prosthetics). This is the same print that’s used in the Severin Films release in the US, with the same extras ported over. However, Arrow has done UK fans a favour by including the documentary Fulci Talks – surely the last word(s) from the great man himself. Check them out below. Arrow’s release is out on 6 June.

2-DISC LIMITED EDITION CONTENTS
• High Definition Blu-ray (1080p) presentation
• Deluxe crucifix-style packaging featuring original artwork by Graham Humphreys
• Illustrated collector’s booklet featuring new writing on the film by Kat Ellinger

DISC 1: DEMONIA
• 4K restoration from the original 35mm camera negative
• Restored original lossless mono English and Italian soundtracks
• Optional English subtitles
• English subtitles for the Italian soundtrack
• Audio commentary by Beyond Terror: The Films of Lucio Fulci author Stephen Thrower
Holy Demons: interview (via Skype) with co-writer/assistant director Antonio Tentori
Of Skulls and Bones: an interview with camera operator Sandro Grossi
Fulci Lives!!!: camcorder footage of a visit to the Demonia set, including an interview with Lucio Fulci
• Original trailer

DISC 2: FULCI TALKS
Fulci Talks, a feature-length 2021 documentary based on an in-depth video interview from 1993 in which the director talks about sin, sailing, anarchic cinema, and reevaluation. This is the last word in all things Fulci – who is much more than the Godfather of Gore – and will certainly make you want to track down his earlier work.
• Original lossless mono Italian soundtrack
• Optional English subtitles

Man Made Monster | Universal’s 1941 mad scientist shocker ignites on Blu-ray

Lon Chaney Jr makes his horror debut alongside Hollywood’s most exquisite villain of the 1930s and 1940s, Lionel Atwill, in Universal’s 1941 horror Man Made Monster, which makes its UK Blu-ray debut in Eureka Entertainment’s two-disc Three Monster Tales of Sci-fi Terror box-set (due out 11 April 2022).

THE TOUCH OF DEATH!
When carny Dan McCormick AKA Dynamo Dan, the Electric Man (Chaney Jr) miraculously survives a bus crash into a power line, electrophysiologist Dr John Lawrence (Samuel S Hinds) invites him to stay at his medical facility, The Moors, so he can study him and his seemingly natural immunity. But the kindly doctor’s assistant, Dr Paul Rigas (Atwill), has other plans.

In secret, Dr Rigas pumps Dan with increasingly higher doses of electricity so he can prove his theory that he can create a race of electrically-charged super slaves. Soon poor Dan becomes a ghostly glowing killing machine and nothing can stop him – not even the electric chair.

Man-Made Monster (the hyphen was added for the film poster) was originally planned to be a vehicle for Bela Lugosi when it was first mooted back in 1936 under the title The Electric Man. But it was shelved as being too similar to the same year’s The Invisible Ray.

In his first leading role, Chaney Jr gives an endearing turn as the gentle pooch-loving everyman in the film’s first half. But once he’s drugged up on Atwill’s electrical fixes, he turns into a mute, slow-moving monster. Luckily, we have John P Fulton’s effective special effects, some moody lighting and a great lab set to enjoy as well as Atwill’s feverish performance. This is possibly his most OTT mad scientist role and he milks the ripe dialogue to the hilt – most significantly his big speech when questioned about challenging the forces of Creation:

‘Bah! You know as well as I do that more than half the people of the world are doomed to a life of mediocrity – born to be nonentities, millstones around the neck of progress, men who have to be fed, watched, looked over, and taken care of by a superior intelligence.’

Atwill also gets some choice lines when revealing his insane idea to an elegant Vera West-styled Anne Nagel, who plays the film’s plucky heroine, June: ‘I’ve always found that the female of the species was more sensitive to electrical impulse than the male. Shall I show you how it was done?‘.

Shot in three weeks on one of Universal’s cheapest budgets, Man-Made Monster proved a modest winner at the box office when released in March 1941, and earned Chaney Jr a contract with the studio. It also kick-started his horror career which would be cemented when he reteamed with director George Waggner for The Wolf Man nine months later. Atwill, meanwhile, was facing a personal crisis. Just a few months after his character, Dr Rigas, commits perjury in the film’s big courtroom scene, Atwill was given a five-year probation sentence (and blacklisted) for the same offence over the 1941 alleged occurrence of a sex orgy at his home.

Be prepared for a tearful ending featuring Hollywood canine Corky (he’s so darn cute).

The Eureka Classics box-set, Three Monster Tales of Sci-fi Terror also includes 1957’s The Monolith Monsters and 1958’s Monster on the Campus. You can read my reviews on those films by clicking on the titles. Also included in the box set are brand new audio commentaries on each film, photo galleries and a limited edition collector’s booklet.

SPECIAL FEATURES:
• Limited Edition O-Card Slipcase
• 1080p presentations on Blu-ray
• Disc One – Man-Made Monster and The Monolith Monsters 
• Disc Two – Monster on the Campus (available in both 1.33:1 and 1.85:1 aspect ratios)
Man-Made Monster – Audio commentary with authors Stephen Jones and Kim Newman
The Monolith Monsters – Audio commentary with Kevin Lyons and Jonathan Rigby
Monster on the Campus –  Audio commentary with Stephen Jones and Kim Newman
• Optional SDH subtitles on each film
• Collector’s booklet written by film scholar Craig Ian Man

Order from the Eureka Store: https://eurekavideo.co.uk/movie/three-monster-tales-of-sci-fi-terror/

She Freak (1967) | Roll up! The exploitation carny classic gets its UK 4K restoration release from 101 Films

PLEASE DO NOT FEED OR TEASE THE CREATURE’
Waitress Jade Cochran (Claire Brennen) sees her fortunes rise when she joins a travelling carnival and freakshow and marries its owner Steve St John (Bill McKinney). When he dies at the hands of her roughneck lover Blackie (Lee Raymond), she abuses her newfound position and earns the wrath of Shorty (Felix Silla) and his fellow freaks who turn her into one of their kind.

This sleazy 1967 reworking of Tod Browning’s 1932 classic Freaks is an absolute hoot from beginning to end (which re-stages Browning’s original climax). It’s also a love letter to the carnival lifestyle of the period by exploitation producer David F Friedman (himself a long-time carny) thanks to the real-life footage of the West Coast Shows carnival shot at the Kern County Fair in Bakersfield, California, which intersperses the ‘drama’.

I first learned of She Freak from Michael Weldon’s seminal 1989 tome The Psychotronic Encyclopedia of Film which had a picture of Claire Brennan as Jade and the hideous ‘Snake Girl’. Yes, the make-up (by Harry Thomas who worked on Frankenstein’s Daughter and Navy vs. the Night Monsters) is hokey, but it just so works in this trashy weirdo classic.

If you are a fan of either Nightmare Alley (1947) or Horrors of the Black Museum (1959), then you will get a real kick out of this as there are a couple of nods to those classics. There’s also a blink or you’ll miss it shot of the mummified body of real-life US train and bank robber Elmer J McCurdy, which was used as a prop. Plus, there’s the legend that is Felix Silla, who got the part when the original choice, Angelo Rossitto, had to bail as he had other commitments.

I originally saw She Freak on VHS as a Something Weird Video release I picked up in New York back in the 1990s, but this new 4K restoration by the American Genre Film Archive (AGFA) is simply amazing! The colours are so vivid, just like the candy floss or slushies you used to get at carnival and circus shows of the past (where the E-numbers were dialled up to 100).

But I also so enjoyed the extras included in 101 Films release, especially Friedman’s archival commentary (he passed in 2011) – which is the last word on this production – and the feature-length trailers (which were included on my original VHS but are now all spruced up).

SPECIAL FEATURES
• 4K restoration from the original 35mm camera negative
• Archival commentary with producer David F. Friedman and Something Weird founder
Mike Vraney
Asylum of the Insane: She Freak inserts preserved in 2K
The Laughing, Leering, Lampooning Lures of David F. Friedman (97:20): a compilation of trailers from the Something Weird vaults, newly preserved in 2K
• Vintage shorts from the carnival midway
• Promotional photo gallery
• Booklet with essay by Something Weird’s Lisa Petrucci
• Reversible cover artwork

ORDER DIRECT FROM 101 FILMS

Shock (1977) | Mario Bava’s final feature is an underrated gem – just watch out for the walking wardrobes!

More than two years after his 1974 thriller Rabid Dogs remained unfinished and the same year’s horror Lisa and the Devil went unreleased in Italy and was cut to shreds on its international release, 63-year-old Italian director Mario Bava was in a bad way.

After a glittering career spanning some 40+ years, he found himself in semi-retirement as young guns like Dario Argento were becoming the new face of Italian horror. But with the help of his son Lamberto, who was just finding his way in the family business, Mario went on to helm what would become his final feature, 1977’s Shock (AKA Schock in Italy and Beyond the Door II in the US) – a modern-day psychological thriller in which true horror lies from within.

Daria Nicolodi stars as the mentally fragile Dora, who moves back into her old family home on the Italian coast with her pilot husband, Bruno (John Steiner) and Marco (David Colin Jr), her young son from a previous marriage. When Bruno departs for work in London, Dora finds herself plagued by accidents and apparitions, as well as Marco’s increasingly bizarre behaviour, which inescapably leads her to a nervous breakdown.

Everything seems to be linked to Dora’s former dead husband Carlo, a drug addict who took his own life. Has his spirit come back to haunt her? Is he using Marco as a conduit to torment her? Is Dora manifesting some deep-set guilt? And what lies behind the brick wall in the cellar?

Now restored in high definition for the first time, Mario Bava’s cinematic swansong is ripe for rediscovery courtesy of Arrow Video’s Blu-ray release, which features some superb extras. These include an insightful audio commentary from Tim Lucas, who is, without doubt, the foremost authority on all things Mario Bava, and Lamberto Bava’s interview, which lays bare the ins and outs of his collaboration with his dad. Plus, much more.

I hadn’t seen Shock before (and I’ve seen most of Maria Bava’s films over the years) and I must say, it’s an underrated gem. There’s so much on offer here, despite its poor reception on its release. There’s a Repulsion-esque scenario that plays crazy mind games on you; an intensely engaging performance from Nicolodi (who was working through her own personal issues following her separation from Dario Argento); some inventive practical special effects (including walking wardrobes and a possessed Stanley knife), and one particular jump scare that certainly got me! (and inspired a scene in the original Scream).

Bava also conjures up a hauntingly beautiful sequence that is pure Bava – when Dora has an erotically-charged encounter with Carlo’s spirit and her hair seemingly comes alive. And to top it all, there’s the eerie synth-and-percussion score by Italian jazz-rockers I Libra, whose members included Goblin’s original drummer Walter Martino (who worked on Profundo rosso). It’s such an earworm, I’m now hunting down a reasonably priced vinyl. A must-have for any fan of Italian’s founding father of horror.

SPECIAL EDITION CONTENTS

• High Definition Blu-ray (1080p) presentation
• Brand new 2K restoration from the original 35mm camera negative by Arrow Films
• Original Italian and English front and end titles and insert shots
• Restored original lossless mono Italian and English soundtracks
• Newly translated English subtitles for the Italian soundtrack
• Optional English subtitles for the deaf and hard of hearing for the English soundtrack
• New audio commentary by Tim Lucas, author of Mario Bava: All the Colors of the Dark
A Ghost in the House, a new video interview with co-director and co-writer Lamberto Bava
Via Dell’Orologio 33, a new video interview with co-writer Dardano Sacchetti
The Devil Pulls the Strings, a new video essay by author and critic Alexandra Heller-Nicholas
Shock! Horror! – The Stylistic Diversity of Mario Bava, a new video appreciation by author and critic Stephen Thrower
The Most Atrocious Tortur(e), a new interview with critic Alberto Farina
• Italian theatrical trailer
• 4 US “Beyond the Door II” TV spots
• Image gallery
• Reversible sleeve featuring original and newly commissioned artwork by Christopher Shy
• Illustrated collector’s booklet featuring new writing on the film by Troy Howarth, author of The Haunted World of Mario Bava

Stagefright (1987) | Michael Soavi’s theatre of blood and gore and on Blu-ray

Not to be confused with Alfred Hitchcock’s 1950 thriller or the 1980 Ozpolitation serial killer chiller (that was also titled Nightmares) or even that ropey 2014 Minnie Driver/Meat Loaf theatre camp horror of the same name, 1987’s Stagefright (AKA Aquarius, AKA Delira) marked Italian film-maker Michele Soavi’s directorial debut. Having learned the ropes working as a second unit director with the likes of Joe D’Amato and Dario Argento, Soavi certainly earned his stripes with this bonkers blood-soaked slasher.

The set-up is simple but soon turns insane. A dance troupe have just one week until they open their experimental new musical production, The Night Owl, about a fictional killer and they still stink. When one of the crew members is murdered by escaped mental patient Irving Wallace (Clain Parker and Luigi Montefiori), the company’s director (David Brandon) seizes on the opportunity the tragedy will bring to the show in terms of publicity. He renames the show’s antagonist to that of the psychopathic former stage actor and locks everyone in the theatre to rehearse. However, Wallace has also snuck in and soon embarks on his killing spree.

Featuring inventive set-pieces that are both stylishly executed and gruesome to the max, Stagefright has quite rightly earned its cult status over the years. It also boasts a hauntingly terrific score from Simon Boswell, whose punk-skewed synth sound is the perfect match for Soavi’s vision. It’s like watching a feature-length music video – but with lashings of gore.

Stagefright also features one of the most bizarre-looking killers in the slasher genre – the mute owl head-wearing psycho who dispatches his victims with a drill, chainsaw and axe (in what could be read as a nod to The Driller Killer‘s Reno Miller, The Texas Chain Saw Massacre‘s Leatherface and Friday the 13th‘s Jason Voorhees).

Genre regulars Giovanni Lombardo Radice (Cannibal Apocalypse, City of the Living Dead) and Barbara Cupisti (The New York Ripper, The Church) are among the cast, while Soavi also appears as one of the two cops stationed outside the theatre while all the mayhem is going on inside. The other is played by former American actor turned screenwriter and dialogue director, Mickey Knox (look him up, he’s quite the character). And here’s a shout out to Lucifer the cat who out-acts the rest of the cast.

Now one scene that really excited me was when our owl-headed psycho creates his macabre tableaux– arranging the dead actors in various poses, stuffing feathers in their mouths and smearing their blood on their faces. It reminded me of the poster for one of my favourite Vincent Price films: Theatre of Blood. Now, I wonder if Soavi was also reminded of it when he designed this scene? What do you think?

The Shameless Films 4K restoration release of Soavi’s Stagefright is a welcome addition to their other releases of the director’s horror output: Dellamorte Dellamore, The Sect and The Church, and it looks and sounds terrific. I’ll be revisiting this often.

Special Edition Features
• New 4K-restored version
Staging the Fright: Interview with director Michele Soavi
The Theater of Blood: Interview with actor Giovanni Lombardo Radice 
The Last Performance: Interview with actor David Brandon
• English or Italian with new English subtitles and hard-of-hearing closed captions

Stagefright is available on Blu-ray and digital on-demand from Shameless Films: https://www.shameless-films.com/product/stagefright-blu-ray/

Seizure (1974) | Probably the strangest Oliver Stone film you will ever see!

You know even the greatest of filmmakers have to start somewhere – and multi-award-winning Oliver Stone is no exception. The director, screenwriter, film producer and author is best known for such cinematic highs as Platoon, Wall Street, Natural Born Killer, JFK and Nixon, but he actually cut his directorial teeth on the 1974 Canadian horror, Seizure.

It’s a film I’ve only ever heard about – until now! While attending Dark Fest IV in London recently, I stumbled across a copy of the 2014 Scorpion Releasing Blu-ray. Now, what sold me was that one of the film’s stars, Martine Beswick was also in attendance and she happily signed it for me. So what’s it like? Well, I thought it might be as cheesy and OTT as Stone’s other attempt at horror – the 1981 misfire The Hand starring Michael Caine – but you know what? It is very peculiar, but not that bad.

Jonathan Frid (AKA Dark Shadows‘ Barnabas Collins) plays horror writer Edmund Blackstone, who is experiencing a nightmarish Groundhog Day in which three murderous intruders target Blackstone’s family and friends who have gathered for a weekend at a lakeside retreat.

But these are no ordinary psychos: there’s the beautiful but deadly Queen of Evil (Beswick), a dwarf called Spider (played by a pre-Fantasy Island’s Hervé Villechaize) and their scarred executioner Jackal (Henry Judd Baker). Dressed in medieval attire, the trio all seem from some other time and place. Are they real or figments of Edmund’s imagination?

Yes, it’s got some rather clunky editing going on, and the performances are of the ‘chewing the scenery’ type, but Stone’s home invasion thriller has a weird adult fairy tale vibe going on that makes it so unique.

Along for the wild ride is Warhol superstar Mary Woronov (just before she joined Roger Corman’s indie gang) – who shows off her athletic body during a rather bizarre knife fight, fading sex symbol Troy Donahue, soap star Christina Pickles, voice-over king Joseph Sirola, and (making his first feature) Richard Cox, who would find fame as the gay serial killer in William Friedkin’s Cruising. What a cast!

The Blu-ray features a new HD master from the original vault elements, so it looks as good as it will ever be and I must say that Beswick steals the show in her Morticia Addams-styled black attire and luscious red lipstick. Although Sirola’s obnoxious Trump-like Charlie does come in a close second. Given that, for years, Stone has tried to erase this film from his credits, it’s certainly one to seek out. The Scorpion release also has a great interview with Woronov (whose description of Stone had me howling) and Cox (who has some fun memories of working on the movie).

Dementia 13 | Francis Ford Coppola’s director’s cut is a must-have

I have been a huge fan of Dementia 13 ever since I bought it on VHS back in the 1980s. I’ve returned to it time and again because it just ticks so many boxes: the moody monochrome cinematography, the atmospheric harpsichord-heavy Ronald Stein score, the great use of the Sir Edwin Lutyens-styled 14th-century Howth Castle in Dublin, and another eccentric turn from one of my all-time favourite character actors, Patrick Magee. But the print I’ve been watching all these years has been quite poor.

So it was with much glee that I see Lionsgate Home Entertainment has released Francis Ford Coppola’s 1963 feature debut in a high-definition director’s cut (which was done back in 2017 by Coppola’s American Zoetrope) on Blu-ray as part of their Vestron Collector’s Series.

Luana Anders (who had just finished Roger Corman’s The Young Racers, and previously co-starred with Vincent Price in 1961’s The Pit and the Pendulum) plays recently widowed Louise Haloran, who keeps her husband’s death a secret in a bid to secure his inheritance.

But as she plots to exploit her ailing mother in law (Eithne Dunne) who continues to grieve over the tragic drowning of her daughter Kathleen, Louise’s plans are put in jeopardy by a maniac stalking the family estate. But who could it be? Brothers Richard (William Campbell) or Billy (Bart Patton), family physician Dr Justin Caleb (Magee), or someone else entirely?

Having seen the film countless times, I went straight to Coppola’s audio commentary – which was a blast. I’ve now gained a new appreciation of just how much the film is very much Coppola’s own. He not only directed but wrote the screenplay (which he readily admits was a cash-in on William Castle’s Homicidal, which was itself a rip on Hitchcock’s Psycho), and was very much involved in the film’s visual imagery. He was also the body double for the heart attack victim in the chilling opening scenes, the hand model for the film’s protagonist, Louise; and best of all, the 1962 Alfa Romeo Giulietta that features heavily was Coppola’s own pride and joy. One he wishes he still had – so do I! Oh, and I love the story he tells of how he became a hero after managing to keep a local pub open after closing time.

Made on just $40,000 (half of which was money left over from Corman’s The Young Races production) at Ardmore Studios in Bray, Ireland, Coppola’s psychological axe-murder horror is a masterclass in effective economical film-making – but also one with great style, and some very haunting imagery (such as the transistor radio burbling distorted pop music as it sinks into the lake, and [spoiler] Louise’s tragic early demise a la Janet Leigh’s Marion Crane).

To preserve his vision, Coppola excised the additional scenes (filmed by Jack Hill) that producer Roger Corman had added. While it’s a shame they weren’t included as an extra, the film finally looks and sounds its best!

Special Features
• Introduction by Francis Ford Coppola
• Audio Commentary by director Francis Ford Coppola
• Prologue (Dementia 13 Test): In a nod to William Castle’s gimmicks, and to extend the film’s running time, this features a ‘shrink’ inviting the audience to take part in a survey that tests their mental state.

Amazon Blu-ray: https://bit.ly/Dementia13Vestron

The Dark Eyes of London | The 1939 Edgar Wallace adaptation starring Bela Lugosi gets a remastered release

If ever you had your suspicions about insurance agents being just out for your money, then look no further than the British 1939 shocker, The Dark Eyes of London, starring Bela Lugosi, which is now out on Blu-ray and DVD in the UK from Network, featuring a newly remastered print.

Hiding behind a veneer of respectability and charitable good deeds, insurance broker Dr Orloff (Lugosi) is killing off his customers for their policies.

Using the Dearborn Home for the Blind in London’s East End as his cover and disguised as the charity’s blind proprietor, Orloff gets his dirty work done by Jake (Wilfred Walter), a deformed blind resident.

But his murderous schemes come unstuck when his new secretary Diana (Greta Gynt) finds a vital clue to her father’s murder.

Produced by Pathé Films (via John Argyle Productions), this adaptation of Edgar Wallace’s 1924 novel, The Dead Eyes of London, was expected to usher in a wave of British-made horror – just as Universal was experiencing in the US following the successful re-release of 1931’s Frankenstein. But it got hit with a double-blow which stopped that idea dead in its tracks.

It became the first British film to receive the ‘H’ censor rating for being ‘Horrific for Public Exhibition’ (which meant no under-16 were allowed to see the film) and it was released in the UK in October 1939, when the country was preparing for a real-life horror show: World War Two. It would be another two decades before the genre bounced back, courtesy of Hammer.

However, The Dark Eyes of London is one of the best shockers of the 1930s. Featuring drownings, electrocutions, cold-blooded murder and a monster that echoes Conrad Veidt’s Cesare in The Cabinet of Dr Caligari (1919), Karloff’s monster in Frankenstein, and the killer ape in The Murders of the Rue Morgue (1932), it certainly earned its ‘H’ certificate.

Lugosi is excellent in the dual role of the cold and calculating Dr Orloff and the kindly Professor Dearborn (dubbed by English stage actor OB Clarence) and he gets excellent support from Shakespearean actor and playwright Wilfred Walter as the blind giant whose deformity mirrors Orloff’s dark soul. It is also effectively directed by Walter Summers (who helmed the last major British silent Chamber of Horrors in 1929) and atmospherically shot by Bryan Langley (who makes excellent use of Duncan Sutherland’s warehouse and riverside set).

Filmed in 11 days at Welwyn Studios in Hertfordshire in April 1939, the film was released by Monogram in the US in March 1940 as The Human Monster. It was later withdrawn from circulation following the release of a West German adaptation in 1961 (Die toten Augen von London). Network’s HD remastered release looks and sounds fantastic, which this landmark British horror, so deserves. I highly recommend adding this to your classic horror collection.

SPECIAL FEATURES
• Brand-new high definition remaster from original film elements in its original theatrical aspect ratio
• Audio commentary with Kim Newman and Stephen Jones
• Kim Newman and Stephen Jones discuss Lugosi’s work in the UK at the Edgar Wallace pub in London
• US titles & US trailer
• Image gallery
• Booklet written by Adrian Smith

The Snake Girl and The Silver Haired Witch | This 1968 tokusatsu terror tale is a terrific delight

Japanese director Noriaki Yuasa is best-know for Daiei Studios’ iconic Gamera series which he helmed from 1965 to 1980. In 1968, in between Gamera films, he turned his eye to adapting Kazuo Umezu’s classic 1966 horror manga Hebi shōjo (AKA Reptilia), about a shape-shifting snake woman, for the big screen. The result was The Snake Girl and the Silver-Haired Witch (Hebi musume to hakuhatsuma) – a tokusatsu terror tale that’s rarely been seen outside Japan since its release but gets a new life on Blu-ray from Arrow Video. And it’s a doozy.

A young girl called Sayuri (Yachie Matsui) is reunited with her scientist father and amnesiac mother after a long stay at a children’s home and is surprised to discover that she has an older sister, Tamami (Mayumi Takahashi).

With her father away on business, and her mother lost in her thoughts, Sayuri tries to befriend Tamami, who treats her with scorn, and is doted on by the family maid. Finding reptile scales on Tamami’s bed, Sayuri suspects her sister is a snake.

Moving to the attic, Sayuri begins having terrifying visions of a fanged creature and a witch that wishes to do her harm. But who is she? and why is she targeting her?

Yuasa’s 1968 horror is a revelation. I had never heard of the film before, and it doesn’t appear in any of my go-to reference books. But it’s got all the right ingredients to be a bona fide genre classic: a big house with shadow-lit passageways, a lab full of snakes and an attic draped in cobwebs, two genuinely scary monsters and a little girl heroine caught up in a nightmarish mystery.

Boasting haunting visuals, atmospheric production design and photography (that evoke Hammer’s psychological thrillers of the same period), a nerve-jangling score, and effective performances (especially Matsui, whose androgynous appearance serve to make this a Boys’ Own Adventure, too), The Snake Girl and the Silver-Haired Witch is one to watch time and again.

Oh, and it doesn’t lack in shocks either: I had to turn away when poor Sayuri ends up having her hands repeatedly bashed while hanging for dear life from some scaffolding. It’s the stuff of nightmares.

SPECIAL EDITION CONTENTS

● High Definition (1080p) Blu-ray presentation, with original uncompressed mono audio
● Optional English subtitles
● Audio commentary by film historian David Kalat
This Charming Woman: Interview with manga and folklore scholar Zack Davisson
● Theatrical trailer
● Image gallery
● Reversible sleeve featuring new and original artwork by Mike Lee-Graham
● Illustrated collector’s booklet featuring new writing by Raffael Coronelli

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