Category Archives: Must See
Caltiki: The Immortal Monster (1959) | A true five-star release of an important film in Italian horror cinema
REVIEWED BY ALAN HOARE
The week’s big screen movie was a premier of Caltiki, The Immortal Monster (original Italian title: Caltiki, il Mostro Immortale, British title: The Immortal Monster) a 1959 Italian science fiction-horror film directed by Riccardo Freda and Mario Bava, which neither Chris or I had seen before.
A team of archaeologists investigating Mayan ruins who come across a creature that is a shapeless, amorphous blob. Meanwhile, a comet is due to pass close to the Earth, the very same comet that passed near the Earth at the time the Mayan civilization collapsed, raising the question: “Is there a connection between the creature and the comet”?
* John Merivale as Dr. John Fielding
* Didi Perego as Ellen Fielding
* Gérard Herter as Max Gunther
* Daniela Rocca as Linda
* Giacomo Rossi-Stuart as Prof. Rodriguez’s assistant
* Daniele Vargas as Bob (expedition member)
* Vittorio André as Prof. Rodriguez
* Nerio Bernardi as Police inspector
* Arturo Dominici as Nieto (expedition member)
[WARNING: The following contains spoilers]
The opening narration tells us about the achievements of the Mayan civilisation and their unknown demise leaving their city empty and abandoned. We then see a delirious, worse for wear, man stumble from the ruins of the Mayan city and into his group’s camp (without his partner, both of whom have been exploring a nearby cave). He quickly babbles away madly, repeatedly muttering the word Caltiki. The group sets out for the cave to investigate what happened.
Upon entering the cave they find a huge chamber containing a deep pool of water, behind which on a stone pedestal is a large statue of Caltiki, the vengeful Mayan goddess who was ceremonially presented with human sacrifices.
Puzzled by the pool, they quickly decide to send a man with “full immersion gear” (in other words a diver) to investigate. Descending to the bottom, he finds the sandy bed scattered with Mayan skeletons clad in gold jewelry. Excitedly he surfaces clutching as much gold as he can carry. Although the group advises that he not go down again, he insists that he has plenty of air and suggests that they could all become millionaires from the wealth below. Relenting, they let him descend once more.
As he greedily collects more and more treasure he inadvertently disturbs something and his cable to the surface suddenly begins to move erratically. Fearing for his safety, the group pull him back to the surface, only to find, upon removing his face mask, that his face has been reduced to a decayed mass over his skeleton.
Moments later, a shapeless pulsating creature rears up from the pool, attempting to envelop anyone within reach. Max is caught by the arm but is rescued by John who chops off part of the creature with an axe, freeing Max’s arm.
As the team escapes, the shapeless mass begins to crawl out of the cave. Nearby, there is a tanker truck full of gasoline. John drives the truck directly into the creature , causing a violent explosion which sets fire to the blob, destroying it.
The team returns to Mexico City to take Max to a hospital to treat the small piece of the creature on his arm, which is slowly digesting him. The surgeons carefully remove the creature, wrapping it up. They find that Max’s arm is nothing more than a few moist scraps of flesh connected to the underlying bones and that Max’s face is also begging to deteriorate.
Through experimentation the scientists discover that sample of the creature is a unicellular bacterium that appears to be dead, only to revive and quickly grow when bombarded with radiation. Overnight the janitor inadvertently irradiates the creature which quickly grows, but is destroyed when the laboratory accidentally catches fire.
Investigating the origins of the creature they learn of a comet emitting radiation, which crosses Earth’s path only once in every 850 years, was in the earths orbit at the demise of the Mayan civilisation and now is approaching earth again. Unfortunately, the remaining samples of the creature are stored in the home of Dr. John Fielding. At the comet’s closest approach to Earth, the remaining piece of the blob begins expanding to an enormous size and reproducing. At the same time the deranged Max has escaped hospital and is terrorising Ellen Fielding.
While attempting to convince the Mexican government to send its army to destroy the reproducing blobs, Fielding is arrested for speeding but manages to escape. A colleague finally convinces the authorities to sound an alarm because if the creature multiples it will be beyond even their ability to control.
The government sends a regiment of soldiers equipped with high powered flamethrowers to Dr. Fielding’s home. Upon their arrival, they find that the creatures have multiplied and have overrun the house and grounds. Dr. Fielding’s wife and child have been forced to hide on a second-floor window ledge to escape being devoured. Fielding arrives just in time to save them, just as the soldiers lay waste to the creatures with torrents of fire.
A very enjoyable Italian take on the monster movie, that takes The Quatermass Xperiment as it’s basis, but goes well beyond this with graphic realistically detailed gore and a simply, but marvellously realised creature deigned by Mario Bava, which looks like old towels were utilised to incredible effect. Indeed there are elements of found footage genre and possibly the genesis of David Cronenberg’s body horror sub genre
Special mention must be made of Mario Bava’s excellent use of glass matte painting for the Mayan village were live action is skilfully mixed to strengthen the illusion of the painting, when the mystery man stumbles from the city and then walks directly in front of the painting. The use of sets combined with models is well handled and as realism to the film.
Allegedly, director Riccardo Freda was angered by the way the producers had treated his cinematographer, Mario Bava, on their previous film, I Vampiri. So Freda concocted a way to push Bava into the director’s chair of his next film, Caltiki, The Immortal Monster; he left the project early once Bava had been hired again as the film’s cinematographer. Freda felt that this would lead producer Lionello Santi into recognizing Bava’s talents as a film director. Bava described Caltiki, The Immortal Monster as “my very first film” while noting that Freda had fled the set “because everything was falling to pieces. I managed to carry it out, patching it up here and there”.
Arrow’s Blu-ray release of this long unavailable masterpiece is a wonder to behold. The black and white photography is crisp and detailed whilst still retaining a suitable filmic look. There is the option of English or Italian language, two audio commentaries and several documentaries.
A true five-star release of an important film in Italian horror cinema.
SPECIAL EDITION CONTENTS
• Brand new 2K restoration of the film from the original camera negative
• High Definition Blu-ray (1080p) and Standard Definition DVD presentations
• Original mono Italian and English soundtracks (lossless on the Blu-ray Disc)
• Newly translated English subtitles for the Italian soundtrack
• Optional English subtitles for the deaf and hard of hearing for the English soundtrack
• Audio commentary by Mario Bava biographer Tim Lucas
• Audio commentary by Italian Giallo cinema author Troy Howarth
• From Quatermass to Caltiki: a new discussion with author and critic Kim Newman
• Riccardo Freda, Forgotten Master: an archival interview with critic Stefano Della Casa
• The Genesis of Caltiki: archival interview with filmmaker Luigi Cozzi
• Archival introduction to the film by Stefano Della Casa
• Alternate opening titles for the US version
• Newly commissioned artwork by Graham Humphreys
• First pressing only: Illustrated collector’s booklet featuring new writing by Kat Ellinger and Roberto Curti
We all know Rupert Everett for his foppish roles in a host of costumes romps, being GBF to Julia Roberts and Madonna in a couple of rom-coms, and for pulling on a frumpy dress to play an eccentric headmistress in the St Trinian’s movies, but did you know that back in the 1990s he also tried his hand at horror? It was in 1994’s Dellamorte Dellamore (aka The Cemetery Man), a strange brew of Italian arthouse cinema, horror comedy and Terry Gilliam-style absurdist humour, is director Michele Soavi’s adaptation of a novel by Dylan Dog comic book creator Tiziano Sclavi.
Everett plays Francesco Dellamorte, the complacent world-weary caretaker of the Buffalora cemetery, where the dead come to life seven days after burial. Francesco’s job is to terminate these ‘Returners’ before they escape over the walls. Cynical, amoral and fearful of an outside world where falling in love only ends in rejection, Dellamorte prefers the company of the (un)dead and his routine existence in the cemetery which he tends the help of his faithful assistant, Gnaghi (François Hadji-Lazaro).
But when Dellamorte does allow himself to fall in love – with a young widow whom he accidentally kills – his enchanted world is suddenly thrown into total chaos. What follows can only be ‘experienced’ as it’s a real rollercoaster ride of quirky and surreal happenings – a sort of Groundhog Day set in a graveyard.
Dellamorte Dellamore is stunning to look at – filled with the kind of light and colour that’s reminiscent of Mario Bava’s Italian horrors of the 1960s, while the use of an actual cemetery (in Guardea, Umbria) makes it even more fantastical. Everett is a bit wet as the titular hero (he’s certainly no Bruce Campbell), but Hadji-Lazaro is a revelation (his side story is a real treat). The humour might be a bit hit and miss, but it’s the visuals that will stay with you (my favourite – the talking head in a broken TV).
Back in 2012, Shameless Screen Entertainment re-released this mini-masterpiece onto DVD and got director Michele Soavi and writer Gianni Romoli together to share their thoughts (in Italian) as a special feature. I’ve been watching it over and over every since, and revisited it again last night after checking out Shameless latest additions to their Soavi collection The Church and The Sect (check out my review real soon).
Out on DVD through Shameless Screen Entertainment
A hero dwarf, a scythe-wielding henchman, Christopher Lee playing a necrophile aesthete Count and a baroque setting that wouldn’t look out of place in a Tim Burton film makes for a fantastic voyage into vintage horror in 1964’s Castle of the Living Dead.
Set in the aftermath of the Napoleonic Wars, this black-and-white chiller finds mad taxidermist Count Drago (Lee, looking wonderfully funereal with his neat goatee, dark-rimmed eyes and glossy black hair) creating a tableaux of embalmed women in the bowels of a creepy castle that’s festooned with stuffed ravens, owls and pelicans.
When a troupe of travelling performers fail to heed the warnings of a local witch (one of Drago’s failed experiments) and decide to perform for the Count, young dancer Laura (Gaia Germani) finds herself next to be added to Drago’s ghoulish collection. Her only hope of survival lies in the hands of an unlikely hero – a dwarf (Antonio de Martino).
This imaginative Italian production was directed by Luciano Ricci (using the name Herbert Wise) and screenwriter Warren Keifer. Now, if that last name rings a bell then it should because Donald Sutherland – who plays the dual role of a police sergeant and the ugly witch – would later name his son after Keifer.
It’s also the film in which future Witchfinder General director Michael Reeves got his break. The 20-year-old was initially employed to do second-unit work, but ended up doing a whole lot more. Though he never got to shoot any scenes with star Lee, he was responsible for introducing the character of the dwarf. And his sterling work on the horror would result in him directing his first picture, The She Beast, the following year. As a side note, Reeves also appears as one of the frozen officer’s in Drago’s gruesome gallery.
Beautifully shot in icy monochrome by Fellini’s cinematographer, Aldo Tonti, the film’s most memorable moments include a mock hanging (Reeves would later film a similar scene for the opening of Witchfinder General) and the henchman and dwarf dueling in a garden of surreal statues and on the castle ramparts (the real-life Odescalchi Castle and Bomarzo Park in Lazio, Italy).
Packed with nods to Bergman’s The Seventh Seal, Poe’s Roderick Usher, the legend of Bluebeard, and Hitchcock’s Psycho, this is an atmospheric exercise that gets better with age.
The 2012 DVD release available from Screenbound Pictures in the UK has been digitally remastered with restored original mono soundtrack, and includes the original trailer and notes by Michael Reeves’ biographer Benjamin Halligan.
The Driller Killer (1979) | Abel Ferrara’s notorious art house video nasty gets a deluxe HD restoration release
‘Abel Ferrara’s debut is in the exploitation ballpark, but it’s as much a product of Warhol low-budget artiness as the slasher genre.’ Empire
One of the most notorious of the video nasties, this 1979 exploitation-art-house crossover from future Ms. 45, Bad Lieutenant and Welcome to New York director, Abel Ferrar was judged almost entirely on its video sleeve artwork with the film itself left out of the equation. Now it’s getting a deluxe Limited Edition Steelbook from Arrow Video with the disturbing film fully uncut.
Director Ferrara also goes in front of the camera to play struggling artist Reno, a man pushed to the edge by the economic realities of late-1970s New York and the No Wave band practising in the apartment below. His grip on reality soon begins to slip and he takes to stalking the streets with his power tool in search of prey…
The Arrow Video release of The Driller Killer features a high definition restoration of the film, plus the following special features…
• 4K restoration from the original camera negative of the never-before-seen pre-release version and the theatrical cut.
• High Definition Blu-ray (1080p) and Standard Definition DVD presentations in both 1.85:1 and 1.37:1 aspect ratios.
• Original Uncompressed Mono PCM audio.
• Audio commentary by Abel Ferrara, moderated by Brad Stevens (author of Abel Ferrara: The Moral Vision) and recorded exclusively for this release
• Laine and Abel: An Interview with the Driller Killer, a brand-new interview with Ferrara (see a clip below).
• Willing and Abel: Ferraraology 101, a new visual essay guide to the films and career of Ferrara by Alexandra Heller-Nicholas, author of Cultographies: Ms. 45
• Mulberry St., Ferrara’s feature-length 2010 documentary portrait of the New York, available on home video in the UK for the first time ever.
• Collector’s booklet featuring new writing by Michael Pattison and Brad Stevens
• Steelbook Limited Edition features original artwork (2,500 copies).
• Reversible sleeve featuring original and newly commissioned artwork by the Twins of Evil (UK Amaray specs).
• Collector’s booklet (first pressing only).
To celebrate Arrow Video’s release, we have been given this exclusive extra to share with you. In this new interview with Abel Ferrara recorded for this release, he discusses why he cast himself in the title role after initially asking David Johansen of The New York Dolls…
Legendary hellraiser Oliver Reed may be better remembered for his drinking antics than his acting credits, but I think a reappraisal of the spirited thespian’s cinematic roles is long overdue – especially after watching this 2010 release from Eureka Entertainment.
Having made his name in Hammer’s Curse of the Werewolf in 1961 after a string of minor roles – including playing a camp chorus boy in The League of Gentlemen – and five years short of achieving stardom as Bill Sikes’ in Oliver!, Reed gives a terrifically OTT turn in 1962’s Paranoiac! – the third of Hammer’s psychological thrillers to be penned by Jimmy Sangster (The Curse of Frankenstein).
Loosely adapted from a 1949 crime novel by Brat Farrar, this Psycho-inspired chiller sees Reed take on the role of the greedy, egotistical Simon Ashby, the spoilt heir to a family fortune. Janette Scott (of Day of the Triffids fame) is his mentally fragile sister Eleanor, while Sheila Burrell plays aunt Harriett, who acts as the siblings’ guardian following the death of their parents. With the family fortune about to be split, Simon psychologically tortures his sister in a bid to have her declared unfit. But his plans come royally unstuck when his supposedly dead brother Tony (Alexander Davion) returns home…
Twists and turns abound in this gripping chiller that fuses an Agatha Christie-type mystery with gothic horror scares – particularly a ‘what the Hell’ moment involving the family chapel, a wheezing organ and a very creepy masked figure – and adding a dash of fratricide, incest and insanity for good measure.
As the deranged Simon, Reed is a stand out and the scenes where he is drinking and lashing out are weirdly prophetic. Making his directorial debut is Oscar-winning cinematographer Freddie Francis, who has a real eye for creating scenes of suspense – helped greatly by the eerie lighting and the stunning Dorset locations.
Eureka Classics‘ 2010 Blu-ray and DVD release features a stunning restored Cinemascope HD transfer, along with a music and effects track and trailer as extras, and this is a must-have for your Hammer collection – and one to include alongside the Final Cut release of Hammer’s follow-up chiller, Nightmare, which I reviewed here.
From Final Cut Entertainment in the UK comes a double-bill of classic Amicus horror anthologies to make you shiver!!!!
First up is Tales From the Crypt. Directed with finesse by Freddie Francis, this 1972 British creeper was the fourth horror anthology to come from Milton Subotsky and Max Rosenburg’s Amicus outfit, and it remains a classic of its kind thanks to the sterling performances of an all-star cast and the five genuinely macabre stories, inspired by the original EC Comics, which still have the power to chill.
Subotsky drew on five more tales for the following year’s Vault of Horror, Amicus’ penultimate entry in their horror anthology cycle. Asylum director Roy Ward Baker was called in after original choice Freddie Francis (who helmed the first four entries) declined to oversee a mixed bag of horror and humour, which upped the horror quota, and boasted another starry line-up. You can read more HERE.
The extras on this new Blu-ray, which uses the same uncut transfer that Shout!/Scream Factory put out as part of their 2014 double bill, includes a 36-minute featurette featuring interviews with the likes of Jonathan Rigby, Reece Shearsmith and Steve Chibnall.
Available from Amazon from Monday 5 December 2016
Burnt Offerings (1976) | Why does Dan Curtis’ American Gothic haunted house chiller still frighten me so?
This is the face of the man who scared the bejesus out of my 12-year-old self… and he’s coming back to haunt me once again with Arrow’s HD release of Dan Curtis’ 1976 horror Burnt Offerings – coming out tomorrow (17 October).
Ben (Oliver Reed) and Marian (Karen Black) can’t believe their luck when they rent a vast country mansion for just $900 for the entire summer. All they have to do is look after the house as if it was there own – and to take a daily tray up to the elderly and reclusive Mrs Allardyce.
But as they settle in with their son Davey (Lee Montgomery) and Ben’s beloved aunt Elizabeth (Bette Davis), the house begins to exerts a dark influence on the inhabitants – especially Marian, who becomes obsessed with the unseen old lady at the top of the stairs.
As more strange occurrences take place, it soon becomes evident to Ben that the house is an evil living presence… Can he convince Marian to leave with the family before its too late?
Burnt Offerings is one of the most underrated chillers of all-time. Co-written, produced and directed by the legendary Dan Curtis (Dark Shadows, Trilogy of Terror), and adapted from the 1973 Robert Marasco novel by Logan’s Run author William F Nolan, its a rare thing indeed: being subtle in its horror, featuring a standout cast, and spinning social commentary in its inventive take on the old haunted house story: one in which the viewer becomes an unwitting voyeur as the family firstly fall under the house’s spell, then slowly being consumed by it.
There are scenes that have haunted me for decades: like the rough house play between father and son in the swimming pool that turns deadly dangerous, the house shedding its old shingles as it rejuvenates itself, and that grinning ghostly chauffeur that haunts Ben’s visions. The fact that the chauffeur was the spitting image of my own dad only added to my own nightmares. And don’t start me on that chimney…
From the cameos by Burgess Meredith and Eileen Heckart to child actor Lee Montgomery, everyone in the cast is brilliant, especially scary-eyed Karen Black whose transformation into the house’s clean-freak servant (in Victorian gothic garb, of course) is genuinely disturbing. But for me, it’s Bette Davis who really impresses. Watching her carefree, chain-smoking Aunt Elizabeth wither away before our eyes is terribly sad and truly terrifying.
It’s been decades since I first saw Burnt Offerings, and revisiting it, I prayed that I would not be disappointed. Thankfully I wasn’t. If anything, I’ve learned to appreciate it even more as it’s not only an excellent exercise in creeping terror, it also has an insightful underlying theme about the destruction of the American Dream in possessing material things.
THE ARROW SPECIAL FEATURES
• High Definition Blu-ray and Standard Definition DVD presentation of the feature, transferred from original film elements by MGM. (This is the same print as the Kino Lorber release, and looks terrific. It’s so pristine, you can practically feel the sweat and blood pouring off poor Ollie Reed, and the shadowy cinematography really shines).
• Original uncompressed PCM mono audio.
• Optional English subtitles.
• Audio commentary with Dan Curtis, Karen Black and William F Nolan. I’m so going to nominate this for a Rondo. It’s not only informative and insightful, it’s an important historical record as both Dan Curtis and Karen Black are no longer with us.
• Audio commentary with film critic Richard Harland Smith. (After hearing Curtis and co, I haven’t really bothered with this… as yet).
• Acting His Face: Interview with actor Anthony James (aka that scary chauffeur).
• Blood Ties: Interview with actor Lee Montgomery. This is what I sought out first after revisiting the movie, and its great to hear about Lee’s experiences of working with theatrical giants like Bette Davis (who took him under her wing) and Oliver Reed (who got him drunk).
• From the Ashes: Interview with screenwriter William F Nolan (this guy is legend)
• Animated gallery
• Collector’s booklet (first pressing only).
Fresh from freaking out viewers on FOX, Wolf Creek is heading to VoD, DVD, Blu-ray from today (10 October), courtesy of Eureka Entertainment in the UK.
Based on the cult Aussie serial killer thriller films of same name, the six-part drama sees John Jarratt reprising his iconic role as chuckling psychopath Mick Taylor, who continues to wreak murderous havoc on backpackers and holidaymakers in the Australian outback.
But, this time round, he may have met his match in American teenager Eve (Lucy Fry), when he takes his blood stained Bowie knife and guts Eve’s mum, dad and brother, but mistakenly leaves the wannabe athlete behind for croc bait.
Wounded and pissed off, Eve will stop at nothing to get her revenge. So, after stealing evidence from Darwin detective Sullivan Hill (Dustin Clare), who is investigating unsolved missing persons cases, Eve sets out across the outback to remote parts of WA and South Australia where she picks up clues that will lead her inextricably to… Mick. But following close behind is dogged detective Hill and a gang of vengeful drug-running bikers. And when Mick picks up her scent… all hell breaks loose!
Writer/Director Greg McLean has done a sterling job transferring his slasher sleeper hit to the small screen. It looks great, with the great Australian landscape being showcased in all its bleak, barren beauty – including salt lakes, billabongs, an opal mine and lots of dusty and dangerous highways. There’s action aplenty, while the blood-drenched horror (people getting skinned, beheaded and blown apart) will please gorehounds.
Lucy Fry (last seen on TV as Lee Harvey Oswald’s wife in 11.22.63) makes for an energetic Mad Maxine-styled heroine (albeit one that never smiles until she befriends a stray dog that becomes her spirit guide), while John Jarratt is a hoot every time his murderous Mick slays another tourist (the yoga lady was my favourite).
But you have to suspend your belief over the show’s basic scenario in which Fry’s naïve American is able to escape police custody – and a jail cell – and seems to stay under the radar of the local cops and media. This would never have happened under my watch when I was working as a TV journo in the Goldfields. Australia might be a big place, but even in the remotest parts, when anything happens you’re on it like a shot. Plus, the cops are much more clued in than those portrayed in the show.
But if you can manage to overlook those plots holes, then this Aussie thriller is a must-see. Oh, and one final thought. I’m sure those know-it-alls at Screenwest must be kicking themselves for passing on McLean’s original film – given its cult status, and spawning a sequel (reviewed here) and now a series, it’s been great for South Australia, but another missed opportunity for WA.
Wolf Creek is available on DVD and Blu-ray on 10 October, and includes featurettes on the locations, visual effect, cast and bringing the film to the small screen.
Blood Bath (1966) | Roger Corman’s Operation: Vampire Psycho Killer Thriller Murder Mystery gets the Arrow treatment
If you have ever wondered why the 1966 American International Pictures’ drive-in horror Blood Bath looks like it was shot by Orson Welles in an exotic European locale, then this latest Arrow release was made just for you. Containing four separate films, Operation Titian (1963), Portrait in Terror (1965), Blood Bath (1966) and Track of the Vampire (1967) and an insightful visual essay, this limited edition box-set is must-have for fans of 1960s schlock and the cinema of the king of the B’s Roger Corman.
When it hit the drives in 1966, Blood Bath put a surreal psycho sexual vampiric spin on Roger Corman’s Bucket of Blood, and weaved into its oddball tale of a tortured Californian artist (William Campbell) haunted by an ancestor’s sorceress mistress, were four-minutes of moody shots lifted from a Yugoslavian murder mystery called Operation Titian.
Directed by Rados Novakovic, this 1963 Edgar Wallace-styled whodunit followed two homicide detectives in Dubrovnik investigating a murder linked to a long-lost Titian painting that is also being sought by an Italian criminal (Patrick Magee) and being obsessed over by fantasist artist (Campbell).
Making great use of the baroque splendour of the ancient renaissance port city, and shot with an eye to Orson Welles, the atmospheric thriller was re-edited for the US market with a 24-year-old Francis Ford Coppola as its new story editor. But Corman was unhappy with the results and put another assistant, Stephanie Rothman, in charge of adding in some new scenes. Portrait in Terror, which it was then retitled, was later released direct to TV as part of AIP’s 1967 Amazing Adventures collection.
Still wanting to make use of Operation Titan, Corman hired Jack Hill to turn it into a horror film. Adding surreal elements, some Charles Addams visuals and neatly incorporating Wellesian imagery shot around Venice Beach, Hill fashioned his first cut as psycho thriller before he had to move onto a project that would become one of his best known works: Spider Baby. Rothman was then drafted to complete the picture, and decided on turning it into a vampire movie.
But with William Campbell no longer available, a double was used for the new scenes. The 69-minute Blood Bath was the result. And adding to the hodgepodge was a soundtrack of Ronald Stein scores lifted from The Undead and The Haunted Palace. Too short for a TV release, Rothman was back on board to pad the film out with 8-minutes of running about and a 4-minute spontaneous dance scene. This new edit would be re-titled Track of the Vampire.
For many, this is the first time that Operation Titian has been made available, and it’s a revelation (I’ve now started seeking out the other films of its Serbian director). And despite its flaws, seeing a restored version of Blood Bath, is also a real treat. As for Portrait in Terror and Track of the Vampire, well it will certainly please the completists, but they are missable in my book.
What’s not missable, however, is Tim Lucas’ visual essay. Engrossing and illuminating, his feature-length analysis of Blood Bath’s convoluted history makes revisiting the film and its various versions all the more rewarding. It also ends a chapter in the film historian’s life-long quest in connecting the dots to Roger Corman’s horror, which also serves to highlight the maverick producer’s ‘rich engendering of films and film-makers’.
• High Definition Blu-ray (1080p) presentation of four versions of the film: Operation Titian, Portrait in Terror, Blood Bath and Track of the Vampire
• Brand new 2K restorations of Portrait in Terror, Blood Bath and Track of the Vampire from original film materials
• Brand new reconstruction of Operation Titian using original film materials and standard definition inserts
• Optional English subtitles on all four versions
• The Trouble with Titian Revisited – Tim Lucas examines the convoluted production history of Blood Bath and its multiple versions
• Bathing in Blood with Sid Haig – New interview with the actor
• Archive interview with producer-director Jack Hill
• Stills gallery
• Double-sided fold-out poster featuring original and newly commissioned artworks
• Reversible sleeve featuring original and newly commissioned artwork by Dan Mumford
• Limited edition booklet