Sergio Leone Web Board
Welcome, Guest. Please login or register.
October 21, 2017, 02:33:22 AM
Home Help Search Calendar Login Register
News:


+  Sergio Leone Web Board
|-+  Other/Miscellaneous
| |-+  Off-Topic Discussion (Moderators: cigar joe, moviesceleton, Dust Devil)
| | |-+  The Thrill Killers (1964) SoCal Film Soleil - Fringe Noir - Horror
0 Members and 1 Guest are viewing this topic. « previous next »
Pages: [1] Go Down Print
Author Topic: The Thrill Killers (1964) SoCal Film Soleil - Fringe Noir - Horror  (Read 238 times)
cigar joe
Moderator
Bounty Killer
*****
Offline Offline

Posts: 12607


easy come easy go


View Profile
« on: April 05, 2017, 03:58:53 PM »

Here's a film that's got to be seen by my fellow noiristas and aficio-noirdos.



For not having a pot to piss in or a window to throw it out of, working with an extremely low budget, director and cult film auteur, Ray Dennis Steckler (The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies!!? (1964)) and crew, crafted a delightfully over the top work of aesthetically camp art.

Yea, it's chock full of C&D list actors most of whom never really went anywhere in show biz. And yea, the story is about not one, not two, not three, but four homicidal maniacs. And when it was shown in theaters it was not only promoted by Ormond (Ormond Dale McGill), a hypnotist, who before the feature would "hypnotise" the audience with a Twilight Zone like spinning spiral allegedly to induce "Hallucinogenic Hypno-Vision", but apparently they also, with a William Castle type gimmick, placed paid actors, to play homicidal maniacs sprinkled amongst the theater audience.


Graphic credit sequence

The film was written by Ron Haydock, Gene Pollock, and Ray Dennis Steckler. The film contains some really innovative and incredibly up to date feeling cinematography by Joseph V. Mascelli and Lee Strosnider. Film editing was by Austin McKinney. The music, a sort of bongo beat jazz score was by André Brummer.

The film stars Ray Dennis Steckler credited in the film as Cash Flagg played Mort "Mad Dog" Click,  and Liz Renay (The Sound of Fury (1950), The Naked and the Dead (1958), Date with Death (1959), Desperate Living (1977)), as Liz Saxon.


Mad Dog Click (Ray Dennis Steckler )


Liz Saxon (Liz Renay)

The rest of the cast has Joseph Bardo credited as Brick Bardo (The Beverly Hillbillies TV Series (1962–1971)) playing Joe Saxon, Carolyn Brandt as Carol, Gary Kent (Hells Angels on Wheels (1967)) as Gary Barcroft, Herb Robins (Convoy (1978)) as Herbie Click, Keith O'Brien as Keith Rogers, Laura Benedict as Linda, Ron Burr as Ron, Titus Moede (The Twilight Zone TV Series (1959–1964)) as Motorcycle Officer / Yes Man at Party, Erina Enyo as Erina Devore, Atlas King as Dennis Kesdekian, Nancy Crawford as Mrs. Kesdekian, George J. Morgan as himself, and Gene Pollock as the Detective.

<Spoilers ahead>

A typed title card tells us that the story is supposedly based on true events occurring "back" in 1965. We get a voiceover by actor, director, and writer Coleman Francis (The Tattooed Stranger (1950), Stakeout on Dope Street (1958), The Beast of Yucca Flats (1961)), about struggling actor Joe Saxon (Bardo). Coleman tells us that Joe lives in a world of "non-reality". He's trying to break into tinseltown showbiz. He spends money throwing wild parties trying to impress Hollywood phonies. His wife Liz (Renay), an ex actress now an artist, is worried about making payments.


Joe Saxon (Joseph Bardo)



We cut to ridiculously bouffant haired Greek immigrant Dennis Kesdekian (King) he lives in a world or "reality," he's got a wife and kids and responsibilities. Heading through the San Gabriel Mountains towards Mojave on what looks like the Sierra Highway, Dennis stops to pick up a hitchhiker, Mort "Mad Dog" Click (Steckler). Bad Idea. Mad Dog shoots Dennis dead and steals his '53 Plymouth Plaza Wagon.


Dennis Kesdekian (King)





That evening Joe throws another shindig trying to impress movie producer George J. Morgan. He's hoping to get a part in his next feature, while down on Main St. in Los Angeles Mad Dog picks up a taxi dancer/hooker Miss Devore (Enyo) for quickie at her flop.






getting friendly

She turns on a cheap plastic radio to set the mood, she pulls out some glasses and a bottle of booze. When the woman starts to get physically friendly Mad Dog goes berserk. Slapping her around.

Miss Devore:What did you do that for?
Mad Dog: You're cheap.
Miss Devore: Cheap! What's so cheap about fifty dollars.


"Cheap! What's so cheap about fifty dollars."



Mad Dog grabs a pair of scissors and repeatedly stabs her. Meanwhile a radio bulletin breaks into the music and we hear that three lunatics Keith (O'Brien), Herbie (Robbins) and Gary (Kent), have escaped from the Camarillo State Mental Hospital and are on the loose. The same bulletin is broadcasting on the radio in Joe and Liz's bedroom.



Liz: At least we didn't have all the lunatics at our party tonight

The next day, Liz decides to leave Joe. She drives up Topanga Canyon to her cousin Linda's (Benedict) rustic, roadside, greasy spoon, diner the Pleasant Inn.





In the diner are an engaged couple Ron (Burr) and Carol (Brandt). They get in their '61 Ford F100 and drive up to see the nearby house they just bought, but their love nest is infested with lunatics, their handyman is decapitated. Mayhem ensues and soon both Ron and Carol meet the same fate. Note, a few of these sequences are quaintly cheesy by today's horror standards, which add to the films charms.


Ron (Burr) and Carol (Brandt)









Continued.....


Logged

"When you feel that rope tighten on your neck you can feel the devil bite your ass"!
cigar joe
Moderator
Bounty Killer
*****
Offline Offline

Posts: 12607


easy come easy go


View Profile
« Reply #1 on: April 05, 2017, 03:59:26 PM »

Continuing...

Joe and producer Morgan arrive at the Pleasant Inn soon joined by the three lunatics Keith, Herbie, and Gary who drive up in Ron and Carol's pickup looking for a cup of coffee after a hard morning's "work." Herbie calls up his brother on the phone to tell him to come quick and pick him up, he wants to get away from these "nuts" that he's with. Herbie tells to come to the Pleasant Inn at the bottom of Topanga Canyon. His brother turns out to be surprize, surprize, Mad Dog.


"I need a cup of coffee"




A little rat poison creamer for Herbie's coffee

Of course everything goes beautifully and chaotically Noirsville, with some exciting and exceptionally well choreographed action sequences.

Noirsville






Liz the artist




Erina Devore (Erina Enyo)

















Ray Dennis Steckler does an amazing job as director, writer and actor. It surely helps that he actually looks crazy, perhaps it's his beady eyes which seem to be set just a tad too close together, or his close cropped haircut, which gives him a bit of a pinhead appearance. The combination bestows upon him the aura of sewer rat. A rat who is a few cards short of a full deck.

His stunt work during the final chase is excellent. He started making films with an 8mm camera, he was an Army photographer serving in Korea. He also spent a year at the Kaufman Astoria Studios in Astoria, Queens with the Army Pictorial Service of the Signal Corps before driving to Hollywood to try and break into the "Big Time".   He worked on Timothy Carey's The World's Greatest Sinner becoming  director of photography. He ended up in the B and independent film circuit working for Arch Hall Sr.'s Fairway Pictures. In 1963 he co-produced his first solo film, The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies, co-starring his then wife, Carolyn Brandt. Filmed for a budget of $38,000, the film was photographed by cinematographer Joseph V. Mascelli with at that time newcomers László Kovács and Vilmos Zsigmond as camera operators.

Liz Renay is the films eye candy. As the ex movie star now artist/housewife she'll remind you of a more voluptuous Ginger (Tina Louise) from Gilligan's Island, however at 38 this Ginger is nearing the end of her starlet shelf life. Liz admirably provides the films hints of T&A. She is also excellent doing her own stunt work scrambling barefoot over the grass, sage scrub, and chaparral mountain sides during the films final chase sequences. When she gets all that she got going for her in motion, in a barely concealing slinky sheath dress it's hard to take your eyes off Liz, you expect her to fall out that dress at any moment. Renay was born Pearl Elizabeth Dobbins, to  "evangelical parents." She broke bad running away from home and won a Marilyn Monroe lookalike contest. She then became a showgirl during World War II. Liz eventually became a squeeze to Los Angeles hoodster Mickey Cohen. After his arrest she refused to sing to the cops and was sentenced to a trey in Terminal Island prison. Later she became a stripper, and performed a mother-daughter strip act. She wrote a tell all book titled "My First 2,000 Men."

The rest of the cast of Hollywood castoffs are good enough to varying degrees. Watch for Titus Moede's ridiculous "Yes" man, he also plays the motorcycle cop at the final denouement. Joseph Bardo is convincing as the struggling actor though it probably wasn't much of a stretch for him ditto for George J. Morgan. Bardo, Liz Renay and Gary Kent have some exciting fight and flight sequences.

Don't expect much and you'll be amazed at what can be done for peanuts. Screencaps are from the Shriek Show 2004 DVD. Also known as The Maniacs Are Loose! 7/10

Logged

"When you feel that rope tighten on your neck you can feel the devil bite your ass"!
XhcnoirX
Gunslinger
****
Offline Offline

Posts: 192


View Profile WWW
« Reply #2 on: April 06, 2017, 11:04:55 AM »

Where do you find these movies?! Great review btw, will have to check it out.

Logged

'I feel all dead inside. I'm backed up in a dark corner and I don't know who's hitting me.' - The Dark Corner (1946)
cigar joe
Moderator
Bounty Killer
*****
Offline Offline

Posts: 12607


easy come easy go


View Profile
« Reply #3 on: April 06, 2017, 11:55:11 AM »

Where do you find these movies?! Great review btw, will have to check it out.

I was explaining this to Jessica, I'm finding a lot of interesting films in the 1960-67-68 range with new some talented and innovative directors that emerged after the demise of the Motion Picture Production Code, the rise of TV, and the end of B unit Studio Production.  The 1958/59 years usually given for Film Noir style cut off was just arbitrary. There are still a few B&W Film Noir up to 1968.
 
I think what's going on is as the Motion Picture Production Code weakened and independent film creators were allowed more artistic freedom, so those Film Noir that went too far over the line depicting violence started getting classified as Horror, Thriller (even though they were just say, showing the effects of a gunshot wound, or dealing with weird serial killers, maniacs, etc.), those that went too far depicting sexual, drug, torture, etc., situations were being lumped into or classed as various Exploitation flicks, (even though they are relatively tame comparably to today's films), the noir-ish films that dealt with everything else, except Crime, concerning the human condition were labeled Dramas and Suspense. Those that tried new techniques were labeled Experimental.
 
With nothing really giving some of some of these directors & producers some parameters, or putting the brakes on, there was no speed limit they just shot past common sense and good taste and eventually they just dispensed with almost all plot at all and just followed the easy money into hardcore. Shame cause you can clearly see artistic talent in these early "Grindhouse" features.
 
P.S. I just watched Reflections In A Golden Eye (1967) the other day again (on TCM) and without a doubt it's a Film Noir in the vein of the psychological type noir, but everyone is distracted by its "sensationalism" and maybe some of the atrocious accents and the mumbling of Marlon, lol.

I have a list of 44 B&W titles so far out of those I've found 6 I'll take your word on Rooney's The Big Operator (1959), it was on the list, another I Mobster (1959) finally gets noir religion at the end but it's mostly no.

Here an intriguing one that stars Liz Renay from Thrill Killers, she was sent to prison (gangster Mickey Cohen's gal pal) right after making it and then made Thrill Killers when she got out. It's only available on aDVDr

Check out the first 6.5 minutes here: https://www.youtube.com/watch?v=8kjjjmZYAdM




« Last Edit: April 06, 2017, 01:40:28 PM by cigar joe » Logged

"When you feel that rope tighten on your neck you can feel the devil bite your ass"!
XhcnoirX
Gunslinger
****
Offline Offline

Posts: 192


View Profile WWW
« Reply #4 on: April 06, 2017, 01:12:23 PM »

Thanks, interesting analysis, it does make sense... And I loved your recent reviews of these 60s movies, I need to check them out.

In regards to the cut off, 1958/59 is completely arbitrary, I agree. If anything, at the very least Blast Of Silence (1961) needs to be included as a through&through noir, hah... But obviously for that one, we can in part thank Criterion for giving it a wider audience simply by virtue of them having re-released it on DVD. But these no-budget independent movies, I don't think I've read a whole lot about them, let alone in relationship to noir. So it's an eye-opener, really  Wink

That clip of Date With Death is great btw, and the summary on IMDb is also promising (it reminds me of another hobo-taking-on-someone-else's-identity low budget noir whose title escapes me now Sad ). Another one to add to the list! Thanks!

Logged

'I feel all dead inside. I'm backed up in a dark corner and I don't know who's hitting me.' - The Dark Corner (1946)
cigar joe
Moderator
Bounty Killer
*****
Offline Offline

Posts: 12607


easy come easy go


View Profile
« Reply #5 on: April 06, 2017, 01:52:08 PM »

Thanks, interesting analysis, it does make sense... And I loved your recent reviews of these 60s movies, I need to check them out.

In regards to the cut off, 1958/59 is completely arbitrary, I agree. If anything, at the very least Blast Of Silence (1961) needs to be included as a through&through noir, hah... But obviously for that one, we can in part thank Criterion for giving it a wider audience simply by virtue of them having re-released it on DVD. But these no-budget independent movies, I don't think I've read a whole lot about them, let alone in relationship to noir. So it's an eye-opener, really  Wink

That clip of Date With Death is great btw, and the summary on IMDb is also promising (it reminds me of another hobo-taking-on-someone-else's-identity low budget noir whose title escapes me now Sad ). Another one to add to the list! Thanks!

It's ridiculous to go by that cut off, I agree, maybe "the powers that be" don't want to acknowledge that noir continued beyond the end of the Motion Picture Code, because it was all in flux, a lot of these 60 films would have never made it to broadcast TV, no resale to aftermarket, so they just got forgotten.

And who knows (at least here in the US) what was coming out of the UK and France, Spain, Italy, Germany, etc., along the same lines during that time period. Stuff that would never show here. We'd need someone who really know the equivalent "B" type Crime, Thrillers and Suspense from the continent.

titoli possibly if he's interested

Logged

"When you feel that rope tighten on your neck you can feel the devil bite your ass"!
Pages: [1] Go Up Print 
« previous next »
Jump to:  



Visit FISTFUL-OF-LEONE.COM

Powered by SMF 1.1.21 | SMF © 2015, Simple Machines
Page created in 0.035 seconds with 20 queries.