by Frank Calvillo
Arrow Heads
Arrow Video, a subsidiary of Arrow Films, humbly describe themselves as merely a “Distributor of classic, world, cult and horror cinema on DVD & Blu-ray”. But we film geeks know them as the Britain-based bastion of the brutal and bizarre, boasting gorgeous Blu-ray releases with high quality artwork and packaging and bursting with extras (often their own productions). Their collector-friendly releases had traditionally not been available in the U.S, but now Arrow has come across the pond and this column is devoted to discussing their weird and wonderful output.
The folks at Arrow continue to build on their reputation as eternal champions of underground cinema with the release of the American Horror Project Vol. 1. The box set features a trio of horror films from the 1970s which, although obscure, definitely have their fair share of admirers.
Every cinephile worth his weight knows what kinds of films these are. They’re products of the famed grindhouse-era school of filmmaking full of eclectic casts and cheesy effects. But there is something unique about each of the titles listed here, whether it be in execution or subtext, which makes each entry stand out from the many other slapped together productions made during that time.
In Malatesta’s Carnival of Blood, a family (Paul Hostetler, Betsy Hehn, and Janine Carazo) take on summer jobs at a run down carnival overseen by the mysterious Mr. Blood (Jerome Dempsey) in the hopes of discovering what happened to their missing son. The plot, as well as any shocks or surprises, are all virtually non-existent, with characters showing up and disappearing at various times and scenes feeling awkwardly placed throughout. None of that matters though because the real highlight of Malatesta’s Carnival of Blood is the various visual set pieces which are expertly done. Director Christopher Speeth takes full advantage of the film’s setting and uses elaborate rides, costumes, and figures in such a visually striking way which easily borders on the avant garde. The elements of vampirism and cannibalism help the film earn its horror stripes, but it’s really Speeth’s way of taking an ordinary American carnival and transforming it into a sinister labyrinth which makes Malatesta’s Carnival of Blood worth seeing.
Less of a horror film and more like a psychological erotic thriller, The Witch Who Came From the Sea stars Millie Perkins as a promiscuous barmaid whose various sexual encounters keep turning up dead. Hands down the sole reason for watching this title is the fantastic performance from Perkins. The actress, most well-known for her moving turn as Anne Frank, does equally good work here as a woman greatly damaged by her past. Films of this nature weren’t often known for their psychological portraits, but its hard to deny this title’s psychological look at traumatic memories being repressed by alcohol, pills, sex, and murder. The Witch Who Came From the Sea was one of the U.K.’s infamous video nasties (a collection of films which were banned in the country due to their explicit nature) of the ’70s and ’80s for its frank sexuality, but today the film stands as a shattering and unforgettable human portrait.
The set concludes with The Premonition, in which a young girl (Danielle Brisebois) becomes the subject of a kidnapping plot by her birth mother and her carny boyfriend (Ellen Barber and Richard Lynch) while her foster mother (Sharon Ferrell) begins to experience haunting visions about her foster daughter’s future. The Premonition features enough moments of suspense and terror that a film of its pedigree would contain, but it’s the surprisingly in tune look at parapsychology, a subject still not popular in the progressive ’70s, which truly elevates it. Furthermore, it’s the question of a mother’s instinct and fearless love for her child, as well as questioning what it is that makes a mother, which gives the film its true depth.
Lovers of this kind of horror fare won’t be disappointed by the American Horror Project, while those who THINK they know all that this type of horror will surely be surprised at some of the undertones to be found. For me, the set’s title seems pretty accurate as each of the films seems to touch on various internal psychological issues plaguing the country at the time. Above all, this is a fascinating collection of little known horror entries that leaves me highly curious for the second volume and all it will unleash.
The Package
Each film is introduced by Arrow’s own Stephen Thrower and features a plethora of extra goodies, including multiple interviews and commentaries with the casts and crews of each film as well as short films, trailers and a prime remastering of each title .
The Lowdown
Arrow’s American Horror Project Vol. 1 offers a collection of terror-filled titles which prove both familiar and surprising.
