Possession of Nurse Sherri DVD Review (Re-post from 2004 Monsters at Play article)

Silly softcore artwork for Retro Shock-O-Rama's DVD release of Nurse Sherri.

     Don’t let the slick softcore, direct-to-video cover art fool you, this is authentic ‘70’s schlock at its most entertaining. Though known in it’s various releases under several different titles (including Beyond the Living and Black VooDoo), most are familiar with this bargain basement Al Adamson film simply as Nurse Sherri. A lurid mix of horror and sexploitation, Sherri is one of the last great examples of drive-in circuit programming - and one of the most absurdly compelling.  
     While attempting to raise the body of a dead disciple, enigmatic cult leader Reanhauer (Bill Roy) has a heart attack. He’s promptly rushed to a hospital for emergency surgery and ends up dying. His tortured spirit, in the form of a crudely animated green blob, quickly possesses sexy nurse Sherri (the pretty but vacuous Jill Jacobson). Using her as his demonic vehicle, he haphazardly begins a plot of revenge against the crackerjack surgical team that operated upon him. Death by pitchfork and other sharp objects soon follow. Ultimately, it’s up to Sherri’s boyfriend Dr. Peter (handsome piece of wood Geoffrey Land) and her fellow nurse confidants (Marylin Joi and Mary Kay Pass) to help her exorcise the evil spirit. 

Jill Jacobson is not confused, she is simply possessed by a confused spirit.

     It’s pointless to delve much into the “plot” of this schizoid production given its fractured history. Even the premise of film is  arbitrary (not to mention contradictory) when given the slightest scrutiny. The cult leader in question seeks revenge because he refused medical help. Though the surgery proves unsuccessful, he would have died regardless – which renders his beyond-the-grave retribution completely nonsensical. His amazing and ever-evolving supernatural powers putting a huge exclamation mark on the junky narrative. Subplots are provided and ultimately prove fruitless. Prentiss Moulden plays a blind ex-football player with knowledge on all things supernatural. His scenes with cult icon Joi (Ilsa: Harem Keeper of the Oil Sheiks) are well played. The two African American actors give the most convincing performances - which is faint praise indeed. 
     The film is opened up somewhat by an additional “subplot” provided by extra footage shot when it was decided to play up Sherri’s “scarier” aspects. Adamson regular J. C. Wells, who was a minor character in the first cut, now receives lots of screen time as an ex-cult member. Telekinetic mayhem, a car chase with ubiquitous vehicle explosion and some nicely shot exteriors are the “bonuses” of this extra mandated footage. Though these sequences add nothing to the central plot, they greatly enhance the production value. This is appreciated even more once the original cut of the film is viewed. Obviously much of the enjoyment factor in watching Sherri is the poorly executed story structure. Those who prefer coherence and continuity along with their exploitation should avoid this (and most Adamson films) altogether.

Marylin Joi and Prentiss Moulden give all in Nurse Sherri (a.k.a. Black VooDoo).

     Basically, Nurse Sherri is a strange marriage of the film Carrie and the nurse sexploitation sub genre. In fact, producer Sam Sherman (listed in the credits as Mark Sherwood) offers a candid audio commentary where he credits Carrie and the Roger Corman film Student Nurses as inspiration. The final result is probably the most coherent of all of Sherman’s collaborations with the late director. It’s also one of the more compelling pieces of low budget schlock released at the time. (The climax of the film is actually edited quite nicely and does hold a modicum of suspense.) 
     What makes this film more than just a “so-bad-it’s-good” experience is a combination of elements. Often Nurse Sherri feels like an Ovidio Assonitis production. The jarring editing and poor continuity frequently found in his Italian/ American releases (which include Beyond the Door and The Visitor) tend to give them an eerie, otherworldly quality. In this respect, Sherri’s budget limitations and numerous re-shoots often work in its favor. There is also a claustrophobic uneasiness that permeates the film as well. Practical locations (no studio sets) and its 16 millimeter you-are-there documentary aesthetic certainly give it an edge. It’s the perfect companion piece to William Sachs’ The Incredible Melting Man from ’77. Both films are micro-budgeted, claustrophobic horror films that work because of their obvious limitations. Though certainly no classic, Sherri can be immensely entertaining for those who appreciate the sub-genre. 

A bloody hand attempts to awaken the somnambulant Nurse Sherri.

     Nurse Sherri was originally shot in 16mm, then transferred to 35mm. High color contrast and severe grain on the release print are often the result. Sherri’s additional footage was shot on 35mm film stock, which only adds to its inconsistent presentation. The original release probably looked much like the image on this DVD – lots of minor wear with heavy contrast and grain. The night scenes are also extremely dark on the original cut of the film. There is an alternate, sexed-up version of Sherri included as well. This cut has even more wear and high contrast but, oddly enough, the night scenes are much brighter. The image is not letterboxed, but the 16mm aspect ratio remains intact. Al Adamson was not known for his mise-en-scene as a director - so even the 35mm scenes don’t seem to lose much information in the framing. For the record, most the film was shot by Roger Michaels - who does an adequate job. There are no awkward boom mics in the frame or major technical gaffes.

     Sound quality on the DVD is merely adequate. The original film transfer had audio problems and these are even more prominent in the digital presentation. The groovy catalogue music (all provided by the same television composer) comes in quite clear. Most of the sound problems come from post-production dubbing (or maybe the lack of) but really add to the drive-in experience. You don’t purchase a grind house film like this expecting much in terms of technical quality. However, compared to Something Weird’s DVD releases of the H. G. Lewis films (all 16mm), this is vastly inferior on all levels. Also, the film’s audio during the commentary track is off slightly – and is a bit distracting. 

The unfortunate Sherri is overtaken by a sparkly green blob in Nurse Sherri.

     This disc is a must for all fans of ‘70’s drive-in films for the audio commentary alone. Sam Sherman has provided numerous commentaries for other DVD releases and he’s got the system down. As stated previously, the audio of the film is out of sync during his voice-over, but he rarely stops to take a breath. His candid comments about the genesis of the film, behind-the-scenes struggles and reedits make it even more interesting. Originally Nurse Sherri was intended as a sex film with horror elements. The original cut is provided and is a fascinating look at the making and remaking of an exploitation film. Also included is the theatrical trailer and a TV spot - both great pieces of schlock advertising. Shock-O-Rama and Seduction Cinema trailers (mainly ‘90’s direct-to-video titles) are also part of the package.

     Though a fully-remastered, widescreen print would have greatly improved the package, this is the best Nurse Sherri has appeared since its release and the commentary alone is worth the (inexpensive) retail price. Certainly not for every taste, especially those who prefer the “intentionally campy” horror films that permeated the multiplexes in the mid-80’s. But if you prefer your exploitation with honest absurdity and eager-to-please schlock, then search out your favorite DVD vendor for this out-of-print gem.   

The gloriously lurid original one-sheet for the 1978 theatrical release.