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The late 1980’s were an odd time for Euro-trash exploitation filmmakers. The slasher genre was played out and no other type of horror film was considered a sure bet so, what to do? Why not find a way to somehow piece several sub-genres together to see if, combined, they will make a coherent film and rake in the profits! So they took a little from the animal attack sub-genre with a dash of mad scientist then added in some biting rage zombies and rape-happy frat scumbags to see what would happen. And then they sold it as if it were a slasher film! Madness, thy name is PRIMAL RAGE (1988).

Joining me to talk about this bizarre mixture is Bobby Hazzard who starts things off diving deep into the Claudio Simonetti produced collection of songs that pepper this film. Released back when a major selling point for a movie was the multi-artist soundtrack album featuring hoped for hit tunes and at times film’s the dialog is often less noticeable than the music. We argue about which song is worse and I sprinkle samples from most of them into the show. You’re welcome/I apologize!

 
We discuss the film’s ‘rage virus’ and how it, at times, feels a little like a dry run for 28 DAYS LATER (2002). Bobby takes great pleasure in noting the motor vehicles that this film shares with that other Florida-shot Italian-made horror film NIGHTMARE BEACH (1989) made by the same team. We lament the lack of Umberto Lenzi’s directorial touch and wonder about the song this movie shares with a certain Dario Argento film. Of course, we comment on the clothing choices and the odd hairstyles because the 80’s were a dead space for taste and this film is a document of those sad times. My favorite moment in the show is when Bobby rattles off a detailed list of every mad costume he could spot in the chaotic Halloween Party climax. Luckily this entertainingly sleazy, bloody mess moves at a good pace, making talking about it fun.

 
Let us know what you think about this film or our overlong conversation about it at thebloodypit@gmail.com or over on the show’s FaceBook page. We’d love hear you opinion of this jumbled Italian horror mess. 

Universal’s Frankenstein film series enters the 1940’s with its neck-bolted head held high. 

As the fourth in the series THE GHOST OF FRANKENSTEIN (1942) is usually seen a massive step down from the classic film produced in the 1930’s but Troy and I have some things to say about that. The story has Bela Lugosi’s Ygor character as the main agent of action which is a smart beginning. His desire to help his monstrous ‘friend’ regain its full strength sends this twisted George and Lenny to yet another son of Frankenstein for mad medical assistance. What could possibly go wrong? 

We discuss the impressive cast including the holdovers from THE WOLFMAN (1941), giving our takes on the various qualities of their performances versus what the script gives them to do. We lament the sad waste of Eveyln Ankers and seriously question the intentions of the film’s costume designers. What is with that bizarre dress? The film’s decision to double up on mad scientists gives us the chance to see Lionel Atwill run off with nearly every scene he has including being the most interesting thing to watch even when he is in the background. We dig into the switch from Karloff to Lon Chaney Jr. being behind the monster’s makeup and debate the choice to use dubbing for his voice in the climactic final sequence. I refer to the published script for the film to point out some interesting trims that might have made this short movie feel a little more substantial but there is something to be said for brevity, I suppose. At an hour and seven minutes it is certainly a fast ride! 

We end the show with the demo or practice take of an Exotic Ones’ song Knock It Down which was co-written by Liz Morris. It’s a fun tune centered around the Universal monsters and hopefully the band will eventually record a full-strength version for a future album. 

We can be reached at thebloodypit@gmail.com for any comments or suggestions or over on the FaceBook page. Thank you for listening to the show! 

I’ve been a fan of the classic version of Doctor Who since I was a teenager. Like many Americans I discovered the show on PBS and have been striving to catch up ever since. The standard debate amongst Whovians is about favorite Doctors but I think a more interesting discussion can be formed around favorite stories. So, when approaching our first podcast on the subject we picked a classic from early in the Third Doctor’s run that showcases the joys typical of the 1970’s version of the series.

Jon Pertwee’s five year run as Doctor Who is one of the periods of the original show that still holds some mysteries for me. There are a number of stories from these years that I have never seen, meaning that I get a bit excited to explore Pertwee’s version of the character because they are new Classic Who! Or, at least, new to me. This enthusiasm for the Third Doctor’s tales bleeds over into repeatedly watching beloved stories to soak up the fun of what they were doing. It took me a long time to realize that the entire time Pertwee’s Doctor is working with UNIT is supposed to be in the 1980’s! That just makes things even cooler!

Mark Maddox is a longtime Who fan and has had the pleasure of getting to create artwork for Doctor Who magazine. He has even gotten to interpret some unfilmed Who stories with brush and paint! He talks about that as we meander around this episode discussing ‘Inferno’, the final tale from Jon Pertwee’s first season. This is a six-part tale so we dig into why those longer stories are so much fun. As to be expected, the inevitable talk about favorite Doctors comes up along with a sharp digression into the elements we feel are missing from the 21st century incarnation of the show. This leads to a verbal scrum involving the various actors who have played the character. When we work our way back to ‘Inferno’ we discuss the smart sound design of the story and Mark tries to convince me to call the hairy green creatures in the story Lava Monsters. He is only occasionally successful. Occasionally.

If you have any comments or suggestions about the show or if you’d just like to tell us who your favorite Who is/was/will be drop us a line at thebloodypit@gmail.com and we’ll respond. Right now we have no idea what Mark and I will cover next so get those ideas in and you might influence our choice. Maybe.

For years Cannon Films has been celebrated for the mad movies they brought to the big screen in the 1980’s. The company’s focus on action films made that decade a crazed series of ever escalating, over the top adventures that often seemed uninterested in coherence and mostly concerned with creating a parade of stunts, violence and explosions. They had great success for a while but nearly every time they stepped away from fistfights, gunfights and car crashes they tended to lose a lot money. One of the biggest financial winners for Cannon was the trio of ninja films they produced from 1981 to 1984 starring Japanese martial artist Sho Kosugi as either the bad guy or the hero and sometimes both! Is there anything a ninja can’t do?

 

To discuss Cannon’s epic ninja trilogy, I’m joined by an old work buddy who I don’t get to see as often as I’d like. Brian Smith is a naturally funny guy with a love of exploitation films from the 1980’s and a previously hidden childhood history of wishing he could be a ninja. Luckily for us his creative side has allowed him to focus some of that childhood longing into comedy and we end this episode with his hilarious song about the joys of the ninja arts. You have been warned!

 

Brian and I relate our history with ninja films and our mutual love of the more insane aspects of these strange cinematic messes. With REVENGE OF THE NINJA (1983) as our jumping off point Brian tells of his parent’s bad reaction to the opening sequence’s violence. I think we’ve all been there. It can be difficult to move past ‘slaughter your whole family ninja violence’ and allow a young lad the joys of seeing the drowning of scantily clad women in hot tubs. It’s not really a ‘family movie night’ kind of film. We have a good time digging deep into the madness of this mess of a movie that seems only barely held together by racial stereotypes, random action scenes and bad ideas. Thank goodness that some of those bad ideas involve turning the stuntmen loose with the camera crew to create some pretty fun stuff. It may not be a good film but it is an entertaining one.

 

We also spend some time on ENTER THE NINJA (1981) and the even crazier NINJA III: THE DOMINATION (1984) to determine which is our favorite. There is even an unplanned sideroad discussion of Saturday morning cartoons in which we bond over the loss of the great Thundarr the Barbarian. There really should have been more episodes of that show made, dammit! You can email the podcast at thebloodypit@gmail.com or join us over on the FaceBook page. We’ll be glad to hear from you!

I’m very excited to welcome author and podcaster Amanda Reyes to the show for the first time! She edited and co-wrote the excellent overview book ‘Are You In the House Alone: A TV Movie Compendium’ and hosts the TV Mayhem Podcast where she hosts discussions of every type of television film imaginable. I’ve been a fan of her work for years and her focus on TV movies putting her near the top of any list of current experts in the field. But her knowledge of cinema ranges much wider than just the small screen. With her love of the thriller and horror genres pushing her into often strange territories she can find fascinating parallels that other viewers would miss. On more than one occasion I’ve been stunned by her deep understanding of obscure horror movies often forcing me to reevaluate my opinion. Plus, her podcasting tendency to go off on great tangents has made for some amazing discoveries of hidden treasures lurking on actor’s resumes!

I asked Amanda what subject she would like to tackle and she brought up the little-known Italian high fashion world thriller NOTHING UNDERNEATH (1985). I had only caught up with the film about a year ago and really enjoyed it so it seemed like a perfect small topic to dig into. Little did I know that Miss Reyes and I would have so much to say about it! We talk about the film for well over two hours and even discuss the bat-crap crazy ending. Be aware, we give you plenty of warning if you want to avoid spoilers but we just had to talk about the final scenes. Not that the mystery element is the only thing here to enjoy about the movie. We delve into the cast and their careers with some surprising details about certain projects. We debate the effectiveness of fake accents; the treatment of the story’s sleazier aspects; the 1980’s fashion; the plot’s red herrings; the film’s rural versus urban visual motif and the telepathic sibling element that drives the entire affair. We had a great time with this film and I hope you have half as much fun listening in.

If you have any comments or suggestions the show can be reached at thebloodypit@gmail.com or over on the podcast’s FB page. Let us know what you think and feel free to guess about what Amanda and I will be discussing the next time we record!

Mark Maddox returns to discuss another Hammer film!

Things became very different for vampire films in the 1970’s. Topics that used to be ignored or, at most, alluded to were suddenly able to be placed front and center in the narrative. No longer did a blood sucker’s victim have to merely cower in fear. Now they could react with lust or the real desire for the monster to put the bite on their necks to show the attraction these creatures might generate as part of their appeal. The sexual side of vampires could become a central part of the story allowing the carnal needs of both monster and victim to be explored. TWINS OF EVIL (1971) takes a pair of identical looking young girls on the cusp of becoming women and shows us two different reactions to a vampire’s sex appeal. The film clearly has a point of view but it is possible to read some darker ideas in the story as well.

We start by discussing the loose Karnstien trilogy that TWINS OF EVIL (1971) concludes. Then we move into a broad talk about the tone of Hammer films’ output during the 1970’s and how the studio became more of a place for independent productions guided by the old guard than a production house. This approach created a less controlled but very interesting run of movies that allowed for experimentation in both style and story as the public’s attention wandered away from the classic gothic horror model Hammer had epitomize since 1957. So even if new settings were not to too quickly embraced, fresh elements could be folded into the tales. This meant more adult themes, more overt violence and as much nudity as they could get away with! We talk about how this film also manages to put religious hypocrisy front and center and embodies it in one of Hammer’s most iconic actors, Peter Cushing. I argue in the show that this is one of Cushing’s best performances for the studio because the script gives him an arc to play unlike his usual villain or hero roles.

If you have any comments about the show please write us at thebloodypit@gmail.com to let us know what is on your mind. Is this your favorite of the Karnstien films? Thank you for listening and we’ll be back soon.

Mad science is a strange field of endeavor. It seems that there are few barriers to becoming a practitioner with the one real requirement being a narcissistic belief that the world needs to be changed and that YOU are the person to change it! For these types of roles Lionel Atwill was usually the perfect choice and this episode’s film has his second onscreen shot at being the baddest, maddest doctor (or, actually, a chemist) he can possibly be. It is fun to watch Atwill squeeze every bit of evil out of the script and he is easily the best thing about the movie.

Troy and I discuss THE MAD DOCTOR OF MARKET STREET (1942) and ask the most obvious question first – Why does this movie mostly take place on a Pacific island? That title is an example of blatant false advertising! This bizarre tale of mad science in the South Seas does begin in San Francisco on Market Street but quickly shifts to a doomed cruise ship and then, after some footage from another movie, to an island inhabited by the usual Hollywood-style native stereotypes. These easily fooled islanders are soon convinced by the Mad Scientist (Atwill) that he is a god capable of resurrecting the dead. You don’t have to be a genius to know that this is not going to work out well long term. The silly portrayal of these natives is only partially redeemed by the chief being played by the great Noble Johnson who manages to inject some dignity into the proceedings. And top billed Una Merkle is a real joy as the flighty Aunt Margaret who is on her way to marry a wealthy man in New Zealand. Past those elements your mileage may vary.

If you have any comments or questions our email address is thebloodypit@gmail.com or we can be reached on the show’s FaceBook page. We’d be thrilled to hear from you. Thanks for listening to this episode!

The film under discussion in this episode is a silent movie and a comedy meaning that it represents two cinema topics that this show rarely touches on. In fact, this is the very first time that we’ve ever covered either of those types of movies on The Bloody Pit so, it’s long overdue!

Usually when John Hudson guests on the show we discuss Antonio Margheriti films but after years of this we thought it would be a good idea to switch things up for a change of pace. Mr. Hudson suggested we look at one of his favorite funny movies THE KID BROTHER (1927) and since I knew nothing about it, I said yes. The film stars comedy genius Harold Lloyd who, by this time in his career, was one of the most popular filmmakers in the world and the highest paid film star of the 1920’s. He was in complete control of his movies usually generating the story ideas and co-directing them in a hands-on producer role.  His films are always energetic affairs filled with amusing chase scenes and daredevil action sequences as his central character struggles to overcome adversity and win the affections of his female co-stars. You might think it pretty standard stuff until you actually watch one of his movies and get caught up laughing and gasping in surprise at the inventiveness on display. Lloyd was an amazing performer and this film is a perfect example of his abilities.

After Hudson and I catch up with each other’s recent viewing lists we dive into a discussion of THE KID BROTHER (1927) and do our best to find ways to remark on this crowd-pleasing tale when we can’t use sound clips to detail our points. John relates his history with Mr. Lloyd’s movies and his love of silent comedy in general. A good time is had by both of us and we hope that you enjoy listening to our discussion of this great film.

Any comments or questions can be sent to thebloodypit@gmail.com or posted on the show’s FaceBook page. John and I will be returning to our usual subject matter the next time he visits but I suspect there will be more oddball choices for us down the road. Thanks for listening!

Every now and then you meet a true raconteur. Someone who not only has the ability to tell tales in an amusing way but who has enough life experiences accumulated to have stories that seem to be inexhaustible. Sam Irvin is such a person!

Sam is a filmmaker who got his start in the industry working with Brian De Palma in the 1970’s on THE FURY (1978), HOME MOVIES (1979) and DRESSED TO KILL (1980) but his journey began as a movie obsessed young man in North Carolina. While just a grade school kid, he started his own movie fanzine in which he reviewed horror, science fiction and fantasy films as well as conducting interviews with his horror film idols. Over his high school years he interviewed Christopher Lee, Peter Cushing, Vincent Price, Freddie Francis, Terence Fisher and even managed to travel to England to speak with them in person. The story of his visit to the set of THE MAN WITH THE GOLDEN GUN (1974) is incredible! In the 1980’s he shifted to being a producer, directed a short film and worked as the Vice President of Marketing for several film distribution companies before finally getting to fulfill his dream of becoming a director. And then there’s the little story of making the amazing ELVIRA’S HAUNTED HILLS (2001) with the great Cassandra Peterson. But I should just let Sam tell you his story as he does a much better job than I ever could.

Among all his other projects Sam is also an author and our current pandemic Hell has fueled his creativity in an odd way. Along with artist Dan Gallagher he has produced the book Sam’s Toilet Paper Caper! Styled as a parody of the classic children’s series of Little Golden Books it relates the mostly true adventures of Sam as he attempts to replenish his supply of white gold – rolls of TP. It’s available in both ebook and print editions with links done below. All profits from the sales of this book go to the World Health Organization’s COVID-19 Solidarity Response Fund. To learn more and to donate, you can visit this website:

So, sit back and enjoy this couple of hours with Sam Irvin as he let us in on some of the more incredible parts of his wild life. If you have any questions or comments the email address is thebloodypit@gmail.com or you can join us over on the show’s FaceBook page. Thanks for listening and we’ll be back soon.

Hammer Studios made four feature films in the ‘mummy’ subgenre and THE MUMMY’S SHROUD (1967) is usually listed as one of the least of them. I’ve never understood this general attitude and not just because I have a soft spot for tales of undead Egyptian monsters stalking grave desecrators. This movie has a lot to offer including a substantial role for the great character actor Michael Ripper. In his last Hammer film director John Gilling brings a number of fascinating ideas to bear and manages to find some new ways to present the usual story of cursed tombs and horrible retribution. In fact, the level of violence meted out by the silent killer in this tale brings to mind some of the darker aspects of the stalk and slash genre of later years. Could this bloody nastiness be one of the reasons the movie has been so derided by fans of the studio’s earlier output?

I’m joined by Mark Maddox to look at this film and dig into why we like it. We examine our discovery of the movie in years past and how it holds up now as it makes its way to Blu-Ray release. We talk about how it sticks to the tropes of the usual mummy story but finds ways to change things up enough to be more than a replay of past efforts. We discuss the cast beyond just the excellent turn by Ripper and the angular beauty of co-star Maggie Kimberly. I put forth the (fairly obvious) idea that the opening section of the film set in ancient Egypt seems to have been meant to be presented without the voice-over the film gives it. Of course, any time you get Mark talking there are going to be bizarre sideroads in the conversation and this episode is no exception. His ability to remember the details of what network showed which movie on what night back in the 1970’s stuns me!

If you have any comments or question thebloodypit@gmail.com is the email address or I can be reached over on the FaceBook page. Thank you for listening to the show and stay safe out there. Cloth wrapped feet are not the only deadly thing lurking in the night!

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