Psychomania (1973)

... aka: Death Wheelers, The
... aka: Death Wheelers Are... Psycho Maniacs!
... aka: Der Frosch (The Frog)
... aka: Living Dead, The
... aka: Psicomania
... aka: Psycho Maniacs

Directed by:
Don Sharp

This very bizarre British B flick centers around a violent motorcycle gang called "The Living Dead," whose favorite pastimes include running motorists off the road, terrorizing people in public squares, smacking baby-carriage-strolling women on the ass as they pass by, stabbing tires with switchblades and treating graveyards like cheap hotel rooms. Gang leader Tom (Nicky Henson) is obsessed with crossing over to "the other side." Luckily for him, his mother (Beryl Reid) is some kind of clairvoyant who makes money holding séances and is somehow in cahoots with Satan. She also may have killed his father years earlier and claims to know the secret to eternal life. Eventually, mum grants Tom access to her knowledge via some portal in a locked room of the house and a special medallion. Tom kills himself by running his bike off a tall bridge, is buried in a grave sitting upright on his motorcycle (!) and soon comes roaring back to life in a memorable scene driving right out of his grave. Zombie Tom then decides to share his secret with his biker buddies, who start killing themselves so they can be brought back to life as immortals.

It's hard to believe that once upon a time someone out there thought this was a good idea for a movie. I could never quite put my finger on just what this was trying to accomplish. Black magic elements aside, this doesn't quite work as a horror film, as it never once attempts to be scary or creepy. It also doesn't work as an exploitation film because it's far too tame. There's no sex or nudity and hardly any violence or foul language. Hell, I don't even remember so much as a drop of blood being spilled and the "zombie" bikers look no worse for wear than they did prior to ending their mortal life. However, this does somewhat work as a gimmicky, silly piece of brainless entertainment. Clearly made to cash in on the big biker movie craze of the 60s and 70s, which took off after the success of Easy Rider (1969), this is seldom boring and pretty lively, amusing and fast-paced. The score and stunt work are good and there are some genuine laughs along the way, such as a hilarious montage of bikers offing themselves in a variety of ways, such as driving out into traffic and leaping from tall buildings, bridges and even airplanes!

There's definitely an attempt at an anarchic youth appeal here, with rebellious long-haired drop-outs doing their thing regardless of what any adult has to say about it. Also to appeal to the younger crowd, the film eventually becomes less chaotic toward the end in favor of a 'doomed love' subplot where Tom's girlfriend Abby (Mark Larkin) can't decide whether to live her mortal life or kill herself to join her boyfriend for all eternity. Needless to say, with all of the silliness going on, that aspect of the plot is not very compelling. The story is all over the place and confusing in spots, incorporating things like 100 year old toads, magic mirrors and George Sanders in a weird role as a cross-hating butler who never ages and may be Satan himself... though I'd like to think Satan has more exciting things to do than cater to an old psychic and her delinquent son for decades!

Though many of the people involved in this hokey, dated film (which received terrible reviews upon release) would just soon forgot their participation in it, it's certainly worth a look for fans of strange minor cult flicks. Is it good? Well, no. Not really. But it does offer a freewheeling, quirky change of pace to some of the stuffier British genre films of the time being offered up by Hammer Productions and other studios. The cast also includes Ann Michelle (previously seen in The Virgin Witch) as a biker chick, Robert Hardy as a police inspector, Patrick Holt and Shakespearean actor Roy Holder. It has also benefited from some very cool poster art over the years, though some of these distributors clearly attempted to sell it as an action flick...

Shot as Psychomania (a rather nonsensical title given the premise) and shown in the UK under that title, this was given the new and, in my opinion, much better title The Death Wheelers here in the U.S., where it received a PG rating and played on the bottom half of a double bill with Horror Express (1972). Both films were written by Arnaud d'Usseau and Julian Zimet and made by the short-lived Benmar Productions.

If you're thinking about purchasing a copy, there are several good ones on the market, but your best bet now is probably the Severin "Collector's Edition" DVD release. Though the original negatives for the film are believed to no longer exist, the Severin release offers up a very decent print of the uncut version plus some good extras, including new interviews with many of the surviving cast members (Henson, Larkin, Holder, several others) and composer John Cameron. The Image release (part of their "Euroshock Collection") also isn't bad. However, there are several releases on budget labels you should avoid, including the Geneon release, which is missing 4 minutes (most of which is the séance scene at the beginning) and offers no special features.

★★1/2

Endless Night (1972)

... aka: Agatha Christie's Endless Night

Directed by:
Sidney Gilliat

Michael Rogers (Hywel Bennett) isn't too happy with his lot in life. From humble beginnings and currently working as a hired driver to chauffeur around rich people all over Europe, Michael gets such a big taste of the high life on a daily basis that he wants it for himself. Not content with visiting art auctions (and pretending to have the means to actually purchase the pieces) and passing off his borrowed Rolls Royce as his own, Michael's biggest dream in life is to build a beautiful modern home on a picturesque plot of land called Gypsy's Acre, which has the luxury of beautiful pastoral fields and an ocean view not far off in the distance. It's an obsession of his and he's determined to get it at all costs. One of his clients, a wealthy, world-famous architect named Santonix (Per Oscarsson), who has only a few years left to live, tells him not to give up on his dreams because, "If the wish can be willed, then perhaps the means will follow." And to a sociopathic social climber like Michael, the "means" are soon found in a sweet, pretty, nubile young woman... who happens to come from a very wealthy family.

While out at Gypsy's Acre taking photographs and dreaming of his future home, Michael bumps into a young American girl named Fenella Thomsen (an emaciated and bony-looking Hayley Mills), who prefers to be called Ellie and is studying singing at a conservatory. There's an instant connection between the two and they part ways with a kiss, with an agreement to meet up again soon. One thing leads to another and the two quickly get become hitched. As it turns out, Ellie is a filthy-rich heiress who has just come into a considerable fortune. The union quickly gets Michael and Ellie into all of the newspapers, with the "World's 6th richest girl" marrying a lowly chauffeur and all. Though her parents are dead, Ellie's extended family, including icy stepmother Cora (Lois Maxwell) and family lawyer Andrew Lippincott (George Sanders), try to pay him a considerable sum for him to quietly divorce Ellie. Being in love, he refuses the offer. The new couple purchase Gypsy's Acre and construction is immediately underway on their dream home. Or at least Michael's dream home...

Once everything is complete, the happy couple are finally able to move into their new digs; an elaborate monstrosity with huge pictures windows, a floor that moves to unveil a pool underneath, walls that flip around to unveil a music chamber, a bar and other things, conveyor belts and remote-controlled everything. With a flip of a button, even the seasonal ambience can be altered. Ellie and Michael open an antique shop in town and settle into what should be nice, wonderful life together. However, everyone seems to be getting ample warnings from just about every place possible. For starters, Miss Townsend (Patience Collier), a local psychic lady who family used to own the property, tells Ellie she's doomed if she stays there. Then there's the attractive Greta (Britt Ekland), Ellie's former tutor, who was let go by the family for lying to help facilitate Michael and Ellie's relationship during the early stages. Both Ellie's family lawyer and Santonix warn Michael not to get too close to her. Regardless, Greta comes to their home for a protracted stay.

Problems arise in the marriage, many caused by Greta's overbearing presence, nosiness and the fact she seems to be trying to take over the home. Several of Ellie's family members move to their town to keep tabs on things and are constantly spying on them. And the creepy old psychic lady and her Siamese cat lurk around outside. One strange thing after another happens until numerous people end up dead. One character may or may not be a ghost, there's a relatively easy-to-spot twist at the end and we get brief glimpses into Michael's childhood, which unveil bickering parents, possible sexual molestation from his stepfather and witnessing a childhood friend drown.

I really liked the chemistry between Bennett and Mills in the underrated psycho-thriller TWISTED NERVE (1968), so I was looking forward to seeing them paired here again. Unfortunately, this "thriller" (often listed as a horror film though it barely even qualifies) is lacking in both originality and dramatic punch. Bennett tries his best to give an intense, tortured performance and most of the supporting cast is solid, but the two primary female leads could have been better. British actress Mills' attempt at a countrified American accent is laughable and after awhile she stops even trying and sounds British again, though otherwise she gives an OK performance. Ekland never was much of an actress and does nothing to change anyone's perception of her here with her usual wooden, pouty-lipped line delivery and empty, deer-caught-in-headlights facial expressions.

It's based on a novel by Agatha Christie. Christie herself apparently didn't like this adaptation, and apparently neither did British critics or audiences of its day. The film flopped and was never released theatrically in the U.S. The cast includes Aubrey Richards as a friendly doctor, Madge Ryan as Michael's disapproving mother, Walter Gotell and an uncredited Leo Genn as a shrink in the final scene. Bernard Herrmann (with assist from Howard Blake on the Moog Synthesizer) did the eerie score and Shirley Jones dubbed Mills' singing. The title comes from the William Blake poem "Auguries of Innocence."

★★

Bluebeard's Ten Honeymoons (1960)

... aka: Bluebeard's 10 Honeymoons
... aka: Woman Killer, The

Directed by:
W. Lee Wilder

Considering the fame of its Oscar-winning lead actor and that it's based on a factual case (there's always a market for true crime), it's strange that this attempt to recount the crimes of infamous French serial murderer / "wife-killer" Henri-Désiré Landru has slipped between the cracks over the years. Then again, maybe there's just not that much interest in Landru. Renowned director Claude Chabrol tackled the same subject matter with a much higher budget and a more professional cast just two years after this one (1962's LANDRU) and no one has seen that film either. Bluebeard's Ten Honeymoons currently has fewer than 50 votes on IMDb and I don't think it's ever officially been released on a home viewing format, though it used to pop up on TV every once in awhile. Good luck finding a copy in either case. It was made by W. Lee Wilder, the brother of famous director Billy Wilder. While Billy was making his classics in Hollywood, W. Lee was on the outskirts trying to cash in on the 50s sci-fi horror craze with such efforts as PHANTOM FROM SPACE (1953), KILLERS FROM SPACE (1954) and THE SNOW CREATURE (1954). This attempt at a more sober horror is - just as all his other films - a mixed bag of the entertaining and inept. George Sanders - admittedly not giving one of his finer performances here; though fine nonetheless - is the film's real drawing card.

Parisian furniture and antiques dealer Henri Landru (Sanders) is a man in love... and he's found the wrong hussy to fall for! The object of his lust is voluptuous blonde Odette (Corinne Calvet), a hard-drinking cabaret singer who's only interested in money. Odette devises a scheme with her shady boyfriend to bilk Henri of 5 thousand franks, claiming her ill mother needs an operation. After sleeping with him, she gets angry when he only gives her half of what she wants and takes no time in informing him she'll soon be looking for "someone who can really afford to have me!" Henri tries everything to get the rest of what she wants, including selling a prized piece of family jewelry. Spotting an ad in the newspaper, Henri goes to meet Madame Vivienne Dureaux (Patricia Roc), a widow who wants to sell three rooms full of furniture before she moves out of town with her sister, Giselle (Ingrid Hafner). Henri meets her, the two go to dinner and Henri ends up accidentally pushing her over a balcony to her death during a struggle. He decides to lay her out on the train tracks to make it look like a suicide and goes ahead and sells her furniture for a tidy profit. Afterward, he's able to shower Odette with the money and gifts, including a ring he removed from Mme. Dureaux posthumously!

Discovering that murder is more profitable than dealing in tables and chairs, Landru starts targeting other lonely women for their money. Using a new identity and claiming to be either a writer or a diplomat, he rents out a secluded villa on the outskirts of Paris, where he romances his victims, gets them to fall in love with him and eventually give him access to their bank accounts. He then poisons them, dismembers their bodies with a hacksaw and burns the pieces in a stove. His next victim is Madame Guillin (Jean Kent), whom he overhears placing a lonely hearts ad in the newspaper for a husband who can match her financial means (40,000 franks). Many others follow. Away from his villa, Henri drowns one of his lady friends in the bathtub of her hotel room. Another is stabbed and her body is buried at a construction site. After claiming many victims and once his wealth is established (he's also able to fleece nearly 200 thousand from a wealthy widow whose husband disappeared while on safari), he's finally able to impress Odette. She finally agrees to marry him but, unfortunately for her, Henri finds out about her other lover on the side and decides to terminate those plans. And her. While all of this is going on, the first victim's sister is busy at work piecing the clues together and trying to locate her missing sibling.

I need to immediately point out that this American-shot film fails hard at its attempt to recreate Paris. The sense of both time and place are incredibly screwy. It doesn't help that the cast consists of a British lead actor, a French lead actress and mostly Americans in the other roles. Most (including Mr. Sanders) don't even bother with attempting an accent. Not much of the art direction recalls Paris either and stock footage of the Eiffel Tower and Moulin Rouge are a poor substitute. While the original crimes took place from 1914 to 1918, this film also doesn't bother with period detail and simply updates the story to 1960. A surprising number of details from the real Landru case make their way into this film. Landru was a furniture seller, did use multiple identities, lured some victims with personal ads and disposed of bodies the same way they are here (one of the reasons it took so long to catch him is because their were no bodies). A sister of one of his victims did indeed hunt him down and her independent research did help convict him... though here, Landru is ultimately brought down by one of his victims' Siamese cat!

Skimpy production values aside, one huge plus here is the amount of dark humor to be found. Landru is very business-like about his murders. He's also very cheap! Immediately upon killing a victim, the first thing he does is raid their pockets and purses. Landru also keeps tabs on all of his expenses in a little black book. In one column he keeps tabs on his out of pocket expenses (dinner, etc.) in ensnaring victims and then deducts it from what his net gross will be upon killing them! He also steals tip money off a table at a restaurant and, when ordering train tickets to his villa, always makes sure to order one a round trip and the other a one-way as not to waste any extra money!

Maxine Audley (the killer's blind downstairs neighbor in the same-years PEEPING TOM) and Greta Gynt (from the 1939 Edgar Wallace adaptation THE HUMAN MONSTER starring Bela Lugosi) play victims and George Coulouris and Sheldon Lawrence (from the director's very fun THE MAN WITHOUT A BODY in 1957) have small roles as well.

★★1/2