Series: Film / TV

Crimson, the Color of Blood directed by Juan Fortuny

Fans of actor/screenwriter/director Paul Naschy who rent out the 1973 film Crimson, the Color of Blood hoping to get a good solid dose of “the Boris Karloff of Spain” may be a tad disappointed at how things turn out. By necessity, Naschy’s role in this picture is severely limited, he doesn’t make much of an appearance until the film is 2/3 done, and even in the final 1/3, his thesping abilities are only minimally utilized.

In this French/Spanish coproduction, Naschy plays a jewel thief named Surnett,

Exorcismo directed by Juan Bosch

The notion has often struck me that one of the hallmarks of truly great screen stars is their ability to render even the most egregiously shlocky films highly watchable and interesting by dint of their very presence. This idea occurred to me again several months back, as I caught the 1957 film Voodoo Island for the first time; a picture that might be close to unwatchable, had it not starred the always fascinating Boris Karloff. And this thought struck me again the other night as I sat before the 1975 Spanish horror outing Exorcismo,

The Hunchback of the Morgue directed by Javier Aguirre

From the jaunty circus music that plays during its opening credits to the closing shot of a steaming, bubbling pit of sulfuric acid, The Hunchback of the Morgue, a Spanish offering from 1973, literally busts a gut to please the jaded horror fan. Co-written and starring “The Boris Karloff of Spain,” Paul Naschy, the film is a wildly over-the-top, cheesy affair that yet succeeds in its primary intentions: to stun and entertain the viewer.

In The Hunchback of the Morgue,

Vengeance of the Zombies directed by Leon Klimovsky

Psychotronic-film buffs who watch the Paul Naschy films Crimson (1973) and The Hanging Woman (also 1973) may come away feeling a bit shortchanged regarding the amount of screen time allotted to the so-called “Boris Karloff of Spain.” In the first, Naschy plays a jewel thief who has been shot in the head following a botched robbery, and thus lays in a near coma for the film’s first hour, while awaiting a brain transplant; in the second, he plays a necrophilic grave digger whose screen time is brief in the extreme.

A Blade in the Dark directed by Lamberto Bava

Lamberto Bava’s first film as a director, 1980’s Macabre, was supposedly a bit too tame in the violence department to satisfy all the gorehounds out there, so in his next picture, 1983’s A Blade in the Dark, the son of the legendary “Father of the Giallo,” Mario Bava, created a bloodbath that might well have made papa proud. Filmed on the cheap in only three weeks at the country villa of producer Luciano Martino, the film is yet surprisingly effective and looks just fine.

Blood Sucking Freaks directed by Joel M. Reed

A film that seemingly has no other goal than shocking and offending its audience, Blood Sucking Freaks (the lack of a hyphen is annoying) must be deemed a complete success. From first scene to last, this is a picture that gleefully parades its repugnant, gross-out set pieces and depraved characters for the viewer’s questionable delectation. Initially appearing in 1976 under the title The Incredible Torture Show (a better, more apropos appellation, I feel; Blood Sucking Freaks suggests that a vampire type of story will be unreeling,

Beyond the Door directed by Ovidio Assonitis

“I am waiting for you inside the guts of this whore!”

A somewhat effective mash-up of Rosemary’s Baby and The Exorcist, Ovidio Assonitis’ Beyond the Door (1974) yet has little of the class and sophistication of the first or terrifying shocks of the latter. Released a year after The Exorcist kicked box-office tuchus (garnering $89 million; the No. 1 highest earner of 1973, if the book Box Office Hits is to be trusted),

Of Unknown Origin directed by George P. Cosmatos

Speaking as a native New Yorker, I would hazard a guess that the two things my fellow residents here fear the most, when it comes to their apartment or dwelling place, are (a) bedbugs and (b) rodents. Those bloodsucking little insects were on the wane for many decades, but have unfortunately made a comeback in recent years, and while not disease carriers, are notoriously difficult and expensive to eliminate. As for the latter, well, the sight of a scurrying mouse in the house is surely enough to startle even the toughest of Big Apple dwellers.

The Strangler Of Blackmoor Castle directed by Harald Reinl

It was back in mid-June 1967 when I — and millions of other baby-boomer boys, I have a feeling — first developed a crush on beautiful, redheaded Karin Dor. With the opening of the fifth James Bond blowout, You Only Live Twice, Dor, already a long-established actress in her native Germany (although few of us realized it at the time), was revealed to an international audience … one that could scarcely fail to be impressed by her turn as Helga Brandt, S.P.E.C.T.R.E.