Oh boy, do we have a LOT to talk about in this new B-Movie Enema. article. Oddly, the movie itself, Joel M. Reed’s controversial Bloodsucking Freaks from 1976, doesn’t really have a lot to discuss in terms of what is seen on the screen (don’t worry, I will be calling play-by-play nonetheless). No, there are two topics in particular to discuss in much greater detail.
I’m not entirely sure where to start with this, so let’s start with the director, Joel M. Reed. He unfortunately passed away in a care facility in New York City just earlier this year. He’s one of the many unfortunate casualties due to the global pandemic that is COVID-19. He’s likely known best for making this movie, which drew the ire of many, many people when it was released. The release of the movie also had a couple alternate titles like The Incredible Torture Show and Sardu: Master of the Screaming Virgins. However, almost everyone knows this movie by the title Bloodsucking Freaks. That’s the name applied to it by Lloyd Kaufman when Troma came along to take over the distribution of the movie.
That began a long relationship with Kaufman that lasted up until Reed’s passing. Continue reading “Bloodsucking Freaks (1976)”
Okay, so maybe last week I closed out one tradition on this site, but I still have a lot more that I can draw from!
That’s what’s up this week as, yet again, it’s time to check out a Norman J. Warren joint! This week’s movie is one that I often see a lot of negativity float about on social media sites and groups I belong to. I don’t care, I think this is a perfect example of the strangeness in one of Warren’s movies. I’m going to talk about Inseminoid.
But, here’s the deal. This movie is actually quite well liked in a few circles. First and foremost, it impressed Roger Corman who nearly hired Warren for movies he was producing. It was made on a shoestring budget, but that actually works in its favor as the cave where they filmed the scenes for the scientists doing their excavation produced the perfect effect Warren wanted. He also got a boost when the famed Shaw Brothers from Hong Kong provided half the budget. It was a little bit of a tortured set though. The cave provided little light and air, and it would often be damp and cause quite a few injuries to cast and crew. On top of that, Robin Clarke, an American actor cast as one of the more important roles, didn’t get along with Norman. The two clashed often. Continue reading “Inseminoid (1981)”
We’re back for another round of Exorcist Rip-Off Month here at B-Movie Enema, and, this time, this movie had a brief period in time in which it was closely related to a previous entry.
For this week, we go over to Germany for a combo rip-off of The Exorcist/exploitation/sexploitation thriller. Released as Magdalena, vom Tueful besessen in 1974 in West German, and under the title In der Gewalt des Bösen in Austria, we received an edited version here in the States as Magdalena, Possessed By the Devil in 1976. As I just mentioned, what we got here was just over 80 minutes in length and there are some pretty mature situations that I’ll be talking about in this article. If that was the case, and it was edited to be shown here, I wonder what few minutes or so that would left on the cutting room floor that was from the original German language film?
Oh, never mind trying to figure it out because the original cuts in Europe were TWO HOURS LONG. Again, some of the stuff in this movie gets pretty naughty. What had to be lost from those to get played over here? Presumably, when it was imported, it wasn’t so much the content as it was the length since this probably went straight to X-rated theaters along 42nd Street style grindhouses, but still… I have to imagine somewhere there’s some real saucy Dagmar Hedrich stuff out there because there is some real saucy Dagmar Hedrich stuff still in the American cut. Continue reading “Magdalena, Possessed By the Devil (1974)”
B-Movie Enema’s October 2020 theme of Exorcist Rip-Off Month is back, and this time we got a pretty well-regarded one.
This week’s film is Abby, and it’s best described as one of the handful of blaxploitation horror films alongside Blacula, Blackenstein, Dr. Black, Mr. Hyde, and Ganja and Hess. This was part of a trio of blaxploitation films by William Girdler. One of those, Sheba, Baby, will someday be on this blog because I LOVE blaxploitation. I’ve talked about Girdler before, though. He’s probably best known for making Grizzly in 1976. However, his final film, The Manitou, dealt with Native American themes and was something I covered over at Film Seizure on my Monster Mondays show earlier this year.
Abby isn’t without some prestige, though. It stars Carol Speed who was in several exploitation films of the 70s, and Blacula himself, William Marshall! It also has Academy Award nominated actress Juanita Moore. So it is not at all lacking in talent here. Continue reading “Abby (1974)”
Welcome back to B-Movie Enema and my Exorcist Rip-Off Month!
Say! Remember last week when I said that I couldn’t just write about The Exorcist because I’d probably be run out of town for having a blog called B-Movie Enema and doing movies that aren’t just A movies in money, but also in quality? Yeah, well fuck that. I found a way to do it.
For this week’s movie, I’ll be digging right into the shitty bowels of 1974’s Seytan from Turkey. Seytan is pretty much a direct copy of William Friedkin’s masterpiece The Exorcist in just about every way it possibly can be. It’s a little shorter, but I remember the first time I ever saw Seytan, I kept looking at the screen and thinking… “Is the audio just fucked on this movie, or what?” Continue reading “Seytan (The Turkish Exorcist, 1974)”
It’s October! It’s the spoooooookiest month of the year!
In years past, I generally would find some sort of loose theme to tie all the movies covered in the month (with usual exception to the actual Halloween “special” article). This year is no different! This is B-Movie Enema and that means I can’t do no movies like The Exorcist or its sequels. They are hardly “B” in quality of production, even if Exorcist II really fucking tried pretty hard. I can, however, do the next best thing.
Welcome to the 2020 October theme month I’m calling Exorcist Rip-Off Month! We’re getting things started with Mario Bava’s Shock from 1977. Here’s the thing about Shock… It’s a possession movie, yes. However, it may only be an Exorcist Rip-Off in sort of name only. You see, Shock was released in the United States as Beyond the Door II. Beyond the Door was a 1974 rip-off of The Exorcist and a B-Movie Enema alum. I really really really needed to cover this. Continue reading “Shock (aka Beyond the Door II, 1977)”
Welcome back for another round of B-Movie Enema goodness.
This week’s movie, The Working Girls, has a lot of interesting things going for it. First, it’s yet another exploitation film. It’s about a group of liberated women living together in a Los Angeles apartment. They all have different types of jobs and start dating different types of guys. However, the girls each start to have issues in which they are endangered by the men in their lives.
Second, the director, Stephanie Rothman, is quite a figure in exploitation film in the 60s and 70s. She worked with Roger Corman as an associated producer shortly after she finished college. She got the opportunity to make a couple movies under Corman’s tutelage. She did eventually venture out on her own and made another film I’ve written about before – The Velvet Vampire.
What’s most interesting about Rothman, though, is that she never liked being linked to the exploitation subgenre. After making a couple films with Corman, she learned that label was given to her movies. It horrified her. However, after learning more about what that meant, how it worked in film, and what she might be able to do with that, she thought, “Fine, I’ll do the best exploitation movies I could.” It didn’t go unnoticed. Continue reading “The Working Girls (1974)”
We’re getting back to some good old blaxploitation with this week’s B-Movie Enema. Penitentiary was written, produced, and directed by Jamaa Fanaka.
Fanaka was part of the L.A. Rebellion from the late 60s and into the late 80s. This was a movement of black filmmakers whose whole intent was to make films that offered an alternative to what most deemed “classical” Hollywood films. This was mostly influenced by Latin American and Italian cinema, but also from an emerging African cinema.
You see, the 1960s was a particularly turbulent time. After a series of events like the Civil Rights Act, Affirmative Action, and the Watts Riots, society shifted and evolved very quickly. Affirmative Action allowed for many more black students to attend colleges – and particularly at UCLA which got urged to create an ethnographic studies program to allow black filmmakers to tell more of their story and stories that would expose their struggles. Continue reading “Penitentiary (1979)”