Getting Carrie Right: A Repost of the FearNet off-Broadway review

HE KNOWS YOU'RE ALONE DVD REVIEW (from 2004 - MONSTERS AT PLAY)

“He’s after me Marvin; he’s trying to kill me! He killed Nancy!”

Amy (Caitlin O’Heaney), manic in the morgue, in HE KNOWS YOU’RE ALONE.

Directed by Armand Mastroianni in late 1979, HE KNOWS YOU’RE ALONE is one of the more slavish slahers to brandish a knife in the shadow of John Carpenter’s HALLOWEEN. It’s also one of the more enjoyable. Burdened with an awkward title that’s more of a tag line - and a lazy ad campaign, Mastroianni’s film didn’t exactly set the boxoffice on fire in the fall of 1980. It’s remembered primarily for two things: the movie debut of a young Tom Hanks and the creepy opening sequence where a woman is stabbed in a movie theater. But this efficient, often suspenseful, little exploitation film deserves more than mere footnote status in this often-derided subgenre.

After a bride-to-be is stabbed through her seat while watching a horror movie, Detective Gamble (hunky Lewis Arlt) grows concerned that it might be the work of a long dormant serial killer; one who murdered Gamble’s own fiancé just hours before their wedding. Sure enough, it turns out that Ray Carlton (the menacing Tom Rolfing) has returned from the void to begin stalking brides - and anyone associated with their wedding party. Fresh off the bus from Slasherville, Ray sets his sights on Amy (Caitlin O’Heaney), a bride-to-be in the final planning stages of her wedding. While her fiancé is off on a wild bachelor party (and her parents conveniently away) she busies herself with dress fittings and a lingering doubt about her upcoming marriage. Her best friends Nancy (Elizabeth Kemp) and Joyce (soap mainstay Patsy Pease) keep her company while she watches her younger sister (Dana Barron) and flirts with ex-boyfriend Marvin (Don Scardino). All the while she is followed by the wide-eyed stalker, who begins to slice up everyone associated with her upcoming wedding. 

Ray Calton (Tom Rolfing) sets his sights on bride-to-be Amy (Cailtin O'Heaney) in HE KNOWS YOU'RE ALONE. 

There are several aspects of Mastrianni’s film that set it apart from the typical slasher film from this era. Shot on Long Island, the cast is filled with talented New York actors including many Broadway and soap opera vets. O’Heaney, also seen in the ugly, misogynistic SAVAGE WEEKEND (shot in ’79 but released in the early ‘80s) makes a likeable, if somewhat neurotic, heroine. Scardino, who stared in Jeff Lieberman’s SQUIRM a few years prior, gives another “charming goofball” performance as Amy’s spurned beau. Kemp (looking very Laurie Strode-like) is also very appealing as Nancy, the girlfriend who sets her sights on a young jogger (Hanks). Much has been made about the future BOSOM BUDDIES star in this film. In what constitutes as little more than an extended cameo, Hanks is fine as a psych student who gives a short spiel on the nature of fear. The late Rolfing is appropriately menacing as the stalker, though some of the awkward staging in the final act renders his character a bit clumsy. Writer Scott Parker embellishes the derivative story with just enough characterization for the actors to hold on to, lending the scant dramatic elements a nuance not typically found in the slasher genre. The believable, and sympathetic, characters also give the suspense sequences an added sense of urgency.

Mastroianni’s first film is appropriately intense, especially during the harrowing climax set at a morgue. Few slasher films from this era were very ambitious; most of which substituted suspense for extreme violence and gore. HE KNOWS eschews much of the violence predominant in the genre, relying more on implied, off screen bloodletting. The Long Island location and late fall backdrop also give the film an isolated, chilly sense of place. Indded its lush fall aesthetic elevates much of the workman-like cinematography by Gerald Feil (who would go on to shoot FRIDAY THE 13^TH PART 3).  

Nancy (Elizabeth Kemp) on her first (and last) date with psych major Elliot (Tom Hanks).

Though HE KNOWS is in many ways a superior thriller, especially when considering its budget and 15-day shooting schedule, it remains one of the more blatant reactions to the success of HALLOWEEN. Suspense set-pieces, characters and even music borrow liberally from the Carpenter film. It also lacks the cinematic skill and innovation that made that watershed film so memorable. In the engaging commentary with Mastroianni and Parker, they mention Carpenter’s film only once; odd when you consider how much they relied on his formula for success. In their defense, much of the “kitchen sink” horror brought back into fashion by HALLOWEEN was around well before its landmark release. The “old dark house” with the specter in the shadows goes back to the thrillers of the ‘30’s. Pressure was also imposed upon the filmmakers by producers who insisted on more of the formulaic aspects -like the nude shower scene. And in a bit a slasher film irony, a few of the set pieces that occur in the climax of HE KNOWS turned up a year later in the disappointing HALLOWEEN 2. While no one would accuse Carpenter of stealing from Mastroianni’s film, it’s interesting how certain film genres seem to mirror one another – intentional or not. 

Subtle, isn't he? 

The 2004 DVD release from Warner’s Home Video (now out of print) is a great gift to fans of this overlooked film. The beautiful transfer is presented in its original aspect ratio; the first time since its theatrical release. It also appears that the print was struck from the original negative; dark scenes that appeared murky on video and cable are now sharp and clear. The Dolby Digital sound is a serviceable mix with little distortion apparent. The special features include the original trailer and, best of all, commentary by Mastroianni and Parker. Their behind-the-scenes reminiscing might not be the most eagerly anticipated DVD audio track this year, but to kids who grew up reading Fangoria, this “special feature” truly is one.  

The out-of-print MGM DVD 2004 release of HE KNOWS YOU'RE ALONE.

Issue #9 of Fangoria, with its iconic image of a chainsaw wielding pig, featured a cover story on HE KNOWS (a photo of Rolfing grabbing at O’Heaney is pictured in the second frame of the iconic film strip.) Any kid who purchased that issue in the fall of 1980 will certainly want to get of copy of this film. It’s an entertaining artifact from a high point in exploitation history.

Don't Look in the Basement DVD Review (Originally Published on Monsters at Play)

Don’t Look in the Basement DVD Review

By Bradley Steele Harding (for Monsters at Play)

“Now use the axe Judge, listen to me Judge… use the axe Judge, go ahead Judge use the axe…”

Dr. Stephens (Michael Harvey) just “axe’n” for trouble in the quintessential grindhouse movie DON’T LOOK IN THE BASEMENT.

     Writer David A. Szulkin wrote what has to be one of the best books ever written about an exploitation film, “Wes Craven’s Last House on the Left: The Making of a Cult Classic.” It’s an exhaustive account on the making of the film, it’s distribution and the impact that it had on the exploitation market of the 70’s. In it he touches upon the distributor Hallmark Releasing (who also helped finance LAST HOUSE) and the long list of exploitation films that they unleashed upon an unsuspecting viewing public. One of those titles was DON’T LOOK IN THE BASEMENT, a Texas-lensed shocker that borrowed the LAST HOUSE “…it’s only a movie” tag line for its advertising. Hallmark was extremely savvy in its marketing, often re-titling its acquisitions to ensure success. BASEMENT was originally lensed as THE FORGOTTEN and played under several titles including WARD 13 before someone wisely suggested its more sensational, drive-in-ready moniker. Though it never enjoyed the same success as the Wes Craven film, BASEMENT remains one of the quintessential exploitation releases of its time and is definitely due for a reevaluation. 

     The patients at the Stephens Sanitarium are involved in a new experimental treatment. Most of them seem to be suffering from a heightened delusional state and all are encouraged to live out their fractured realities. Sam (Bill McGhee) is a lumbering man-child, concerned mainly with toy boats and popsicles. Sergeant Jaffee (Hugh Feagin) never fully recovered from the war and is still battling an unseen enemy. Harriet (Camilla Carr) was unable to deal with the loss of a child and has become fixated on a baby doll and Oliver (Gene Ross), a former judge, seems to have completely lost himself within his work personae. There is also the resident sexpot Allyson (played with flair by Betty Chandler) who has some severe daddy issues. They are among a few other patients (and a small staff) at the secluded, two-story facility. 

     After her life is threatened once again by the unstable Harriet, Nurse Jane (Jessie Lee Fulton) decides that she’s had enough and goes to give Dr. Stephens (Michael Harvey) her notice. She finds him outside, in the middle of a therapy session with Judge. It’s a treatment that includes a sharp axe and the cutting of wood (evidently the Judge had some anger management issues). Just as the harried nurse tells Stephens of her decision, the patient chops the doctor in the neck with the axe. Dr. Masters (the amazing Anne MacAdams a.k.a Annabelle Weenick) rushes to the scene and attempts to placate the disoriented Judge. There she vows to do whatever she can to keep the “family” together. Soon after, Nurse Beale (Rosie Holotik), hired before Dr. Stephen’s death, shows up at the sanitarium. Though her arrival comes as a surprise to Masters (and seems somewhat of an inconvenience), the young nurse is asked to stay. It soon becomes apparent that the unorthodox therapy, without the supervision of Dr. Stephens, has the potential for further violence. Nurse Beale is warned repeatedly to leave by frail geriatric Mrs. Callingham (Rhea MacAdams) - whose tongue is eventually ripped out of her mouth. Further random acts of violence and a shocking revelation (to the heroine, if not the audience) soon compel the beautiful nurse to do expressly what the title has forbidden. 

Bill McGhee (as Ben) and Camilla Carr (as Harriet) in DON'T LOOK IN THE BASEMENT.

     Screenwriter Tim Pope (who later became a popular music video director) wrote a solid, if eccentric, little script that makes good use of its one-location setting. The simple story structure has several unnecessary plot holes, but this only adds to the off-kilter reality imposed by the delusional patients. BASEMENT was directed by the late S. F. Brownrigg, a filmmaker known for making the most out of micro-budgets and finessing great performances from inexperienced actors. This was his first film and many from the BASEMENT ensemble would show up in his subsequent work. The key asset to this grindhouse favorite is indeed Brownrigg’s deft touch with his cast. BASEMENT is essentially as series of claustrophobic scenes with two or three actors at any given time. Though the cast is small, Brownrigg never has the entire ensemble in the same scene. It’s a choice that greatly adds to the unsettling atmosphere; there’s always some patient not present - off to their own devices. It’s also a testament to the performances (and the wonderful lurid photography by Robert B. Alcott) that the momentum continues to build despite the confines of the sparse setting. Ross, Carr and Weenick all enjoyed varying degrees of success in film. McGhee, who is unforgettable as the simple-minded Sam, didn’t do much after BASEMENT, but would, ironically, later appear in the low-budget comedy DRIVE-IN. The beautiful Holotik (HORROR HIGH), who portrays Nurse Beale with a broad yet charming naivite, only made a handful of films before she gave up acting altogether. 

     It’s been rumored that David A. Szulkin’s next book will be, appropriately enough, a biography on Brownrigg who created his own Texas-based film company in the mid-60’s. All of his 70’s exploitation output: SCUM OF THE EARTH, DON’T OPEN THE DOOR, KEEP MY GRAVE OPEN along with BASEMENT were produced by his Century Studios. Not much has been written about Brownrigg, let alone his impressive film resume (however short). If Mr. Szulkin does half the job on Brownrigg that he did on LAST HOUSE it’s certain to be a compelling read. BASEMENT has a rather poor reputation among horror fans, much of which must be attributed to its public domain status. Any video company wanting to make a few dollars off this film can do so with a small investment in a (typically poor) print. The drive-in graveyard is filled with wonderful films that are poorly represented by cheap video distributors. Other obscure genre films that have suffered greatly because of a copyright lapse include Theodore Gershuny’s SILENT NIGHT, BLOODY NIGHT and Willard Huyck and Gloria Katz’s MESSIAH OF EVIL.  (Both are amazing films and are only available in dark pan and scan abominations.) 
     This particular review is for the newest BASEMENT release from Alpha Video. The technical aspects are negligible… sound is adequate as is the picture. The print seems to be from a 16mm copy (as the aspect ratio seems to dictate). To their credit, it’s not the worst print available and Alpha did go the extra mile and came up with some cover artwork that uses actual imagery from the film. There are no extras save for a six-panel access menu (not animated) and a gallery of video titles available from the company. Regardless of its cheap origins, Brownrigg’s film deserves better. Nothing will be able to duplicate seeing Robert B. Alcott’s lurid compositions on a giant drive-in screen. But restoring the print to its former 35MM glory and presenting it in the original aspect ratio would be a nice start. Mr. Szulkin works for Grindhouse Releasing, the DVD company that put out the definitive version of CANNIBAL FEROX. He was also responsible for the great LAST HOUSE reunion short on the recent MGM DVD release. Maybe with Szulkin’s connections (and his affinity for Brownrigg) a new release with a quality, letterboxed print and requisite extras will finally be issued.

Until then: “To avoid disappointment, keep repeating: It’s only a crappy public domain copy, it’s only a crappy public domain copy…”

Update: 

A superior widescreen version of BASEMENT was released by VCI Entertainment in 2007 (on a DVD double-bill with another Brownrigg title DON'T OPEN THE DOOR). 

Cult DVD label Code Red also put out a great version of MESSIAH OF EVIL and a better (widescreen) release of SILENT NIGHT, BLOODY NIGHT. http://www.codereddvd.com/

2012 Panet Fury Interview with THE SLASHER MOVIE BOOK Author J.A. Kerswell