Blood Feast | |
---|---|
Directed by | Herschell Gordon Lewis |
Screenplay by | Allison Louise Downe |
Story by | David F. Friedman Herschell Gordon Lewis |
Produced by | David F. Friedman |
Starring |
|
Cinematography | Herschell Gordon Lewis |
Edited by | Robert Sinise Frank Romolo |
Music by | Herschell Gordon Lewis |
Distributed by | Box Office Spectaculars [ citation needed ] |
Release date |
|
Running time | 67 minutes |
Country | United States |
Language | English |
Budget | $24,500 |
Box office | $4 million |
Blood Feast is a 1963 American splatter film. It was composed, shot, and directed by Herschell Gordon Lewis, written by Allison Louise Downe from an idea by Lewis and David F. Freidman, and stars Mal Arnold, William Kerwin, Connie Mason, and Lyn Bolton. The plot focuses on a psychopathic food caterer named Fuad Ramses (Arnold) who kills women so that he can include their body parts in his meals and perform sacrifices to his "Egyptian goddess" Ishtar.
Blood Feast is considered the first splatter film, a sub-genre of horror noted for its graphic depictions of on-screen gore. It was highly successful, grossing $4 million against its minuscule $24,500 budget, while receiving poor reviews from critics, who criticized it as amateurish and vulgar. The film was followed by a belated sequel, Blood Feast 2: All U Can Eat , in 2002.
A woman comes home to her Miami Beach apartment and hears of a recent murder in Rogers Park. She is then murdered while taking a bath. Before leaving, the killer hacks off her leg above the knee with a machete and bags it. A copy of a book titled Ancient Weird Religious Rites is seen near the body.
At the police station the following day, Detective Pete Thornton consults with the chief of the homicide bureau about the killings, who says that the killer follows a pattern of mutilating his victims by removing their limbs and organs. Elsewhere in town, Dorothy Fremont hires a caterer named Fuad Ramses to arrange a dinner party for her daughter, Suzette. Ramses – who is the serial murderer – tells Mrs. Fremont he will prepare an ancient Egyptian feast for the affair. Mrs. Fremont is delighted, as Suzette is interested in Egyptology. After Mrs. Fremont leaves Ramses' store, he goes to a back room, where he has enshrined a statue of the goddess Ishtar. Ramses is preparing a "blood feast" – a stew from his victims' blood and body parts intended to resurrect Ishtar.
Later that day, Thornton tells the chief he interviewed the latest victim's acquaintances and that she was a book club member. That evening, Tony and Marcy are on a nearby beach. Ramses arrives, knocks Tony unconscious, and removes Marcy's brain from her skull. Thornton and the chief arrive on the scene but cannot get helpful information from Tony, who is hysterical. They later question Marcy's mother, who tells them Marcy belonged to a book club. Sometime later, Ramses stakes out a motel. He knocks on a woman's door and attacks her when she answers, ripping her tongue out as another ingredient of his "blood feast."
Suzette attends an Egyptian studies lecture with her boyfriend, Detective Thornton, at the local university. The lecturer, Dr. Flanders, tells them about the pharaohs Ramses I and Ramses II and the cult of Ishtar that thrived during their rule five thousand years prior. He describes a ritual in which women were sacrificed to the goddess on an altar, and their body parts were prepared and served as dishes during the feast; this was said to cause Ishtar to be reborn. After the lecture, Suzette and Thornton learn that a victim has been found near death and taken to a hospital. Thornton drives Suzette home and rushes to the hospital. The victim, identified as Janet Blake, recounts her attacker saying something that sounded like "Etar" and dies.
Ramses receives a letter from Suzette's friend Trudy Sanders, requesting a copy of Ancient Weird Religious Rites he advertised in the newspaper; he kidnaps Trudy that evening. The next day, Trudy awakens in Ramses's back room. Ramses lashes Trudy with a scourge, collecting her blood in a silver chalice. Suzette informs Thornton that Fuad Ramses will be catering her dinner party and serving an authentic Egyptian feast in honor of Ishtar. Noting the similarity between Ishtar and the word "Etar," Thornton calls Dr. Flanders and learns that Ramses is the author of Ancient Weird Religious Rites. Deducing Ramses to be the killer, Thornton and the police race to Ramses' store, where they discover the Ishtar shrine, Trudy's body, and other human remains. The police head to the Fremont house to arrest Ramses and stop the guests from partaking in the feast.
Ramses arrives at the dinner party and asks Suzette to help him make the feast "more authentic." He has Suzette lie on a kitchen countertop and tells her to close her eyes and offer a prayer to Ishtar. As he raises his machete to decapitate her, Mrs. Fremont enters the kitchen, and he flees. The police chase Ramses through a dump, and he climbs into the back of a garbage truck. The unaware truck driver turns on the trash compactor, crushing Ramses. Thornton explains to the chief how he deduced the killer's identity and says Ramses must have kept a list of people who requested his book as potential victims. The detectives return to their headquarters to file a report; elsewhere, the statue of Ishtar sheds tears of blood.
The concept for Blood Feast arose in the early 1960s, three years after the release of director Alfred Hitchcock’s horror film Psycho . Lewis, previously a teacher at Mississippi State College, had quit his job in order to enter the film business, and directed several "nudie cutie" films in the early 1960s, produced by David F. Friedman (who would later produce Blood Feast and several other splatter films that Lewis would direct). Lewis had seen Psycho and felt that the film had cheated by showing the results of the murders in the film but not the action, because Hitchcock could not risk getting turned down by theaters. The main idea behind Blood Feast was that bathtubs of blood would be spilled in an effort to portray an Egyptian meal cooked with the bodies of virgins and a woman's tongue being ripped out of her mouth. [1]
Filming took place in Miami, Florida over a period of four days, with a budget of $24,000. [1] Director Lewis wanted a realistic prop for the scene where a woman gets her tongue ripped out; in order to accommodate this, a sheep's tongue was imported from Tampa Bay and used in the scene. All other limbs and organs used during production were imported locally. Lewis filmed Blood Feast in color in order to show the red blood used in the film. [1]
Distributed by Box Office Spectaculars, the film was released July 6, 1963 at the Bellevue Drive-In in Bellevue (now Peoria) Illinois. [2] [ failed verification ] The film was advertised as Egyptian Blood Feast at drive-ins in New York. [3] [ unreliable source? ]
Producer Friedman came up with some publicity stunts for the film, such as giving theater-goers "vomit bags" and intentionally taking out an injunction against the film in Sarasota, Florida, in order to gain publicity. Both were very effective and generated more interest in the film, [3] [ unreliable source? ] which became highly successful, grossing $4 million against its minuscule $24,500 budget. [4]
In the United Kingdom, the film faced censorship issues, eventually being banned and added to the infamous "video nasty" list. [5] It was given a DVD release in 2001 with 23 seconds of cuts. In 2005, the film was finally released uncut with an 18 certificate after more than 40 years of being banned. [6] [7]
Blood Feast was first released on VHS home video by Continental Video in the 1980s. It also received VHS and DVD releases by Something Weird Video in the late 1990s.[ citation needed ]
In 2017, Arrow Video released the film in a DVD and Blu-ray double pack. [8]
Blood Feast received generally negative reviews. Variety declared the film to be a "totally inept shocker", "incredibly crude and unprofessional from start to finish" and "an insult even to the most puerile and salacious of audiences". [9] The review labeled the entire production a "fiasco", calling the screenplay (credited to Louise Downe) "senseless", and the acting "amateurish". Of Lewis' direction, camerawork, and musical composition, the review judged that he had "failed dismally on all three counts". [9] The Los Angeles Times described Blood Feast as "a blot on the American film industry." [10] Stephen King has said that it is "the worst horror movie" he has ever seen. [11]
In response to Variety's criticism of the film, Friedman said, "Herschell and I have often wondered who told the Variety scribe we were taking ourselves seriously". [12]
Jerry Renshaw of Austin Chronicle liked the film, but criticized the film's poor acting and noticeably low budget. Renshaw concluded his review by calling the film "offensive, nasty, shabby, and revolting, but also great fun, if you can stand the sight of guts". [13] On his website Fantastic Movie Musings and Ramblings, Dave Sindelar panned the film, criticizing the acting and stating that director Lewis "manages to make his movies look like home movies without giving them that air of verisimilitude that would make them believable". [14] Dennis Schwartz of Ozus' World Movie Reviews gave Blood Feast a C grade, stating that it was "one of those really bad films that some take pleasure laughing at and others sneering at and others doing both". [15] Allmovie's Fred Beldin wrote, "The plot is threadbare, the acting is on a par with the clumsiest of high school plays and the direction is static and uninvolving. Nevertheless, this is one of the important releases in film history, ushering in a new acceptance of explicit violence that was obviously just waiting to be exploited". [16]
On review aggregator website Rotten Tomatoes, the film holds an approval rating of 38% based on 13 reviews, with a weighted average rating of 4.48/10. [17]
Blood Feast immediately became notorious for its explicit gore and violence. It is often cited erroneously as one of the first films to show people dying with their eyes open (earlier examples include D. W. Griffith's 1909 film The Country Doctor , William A. Wellman's 1931 film The Public Enemy and 1960's Psycho ). [18]
Fuad Ramses was described by author Christopher Wayne Curry – in his book A Taste of Blood: The Films of Herschell Gordon Lewis – as "the original machete-wielding madman" and the forerunner to similar characters in Friday the 13th and Halloween . Lewis said of the film, "I've often referred to Blood Feast as a Walt Whitman poem. It's no good, but it was the first of its type." [19] "One of the all-time greats," enthused Cramps singer and horror aficionado Lux Interior. "It was the first gore movie… Now, it looks kind of funny, but it's still really sick." [20]
Blood Feast is the first part of what the director's fans call "The Blood Trilogy". Rounding out the trilogy are Two Thousand Maniacs! (1964) and Color Me Blood Red (1965). After the third, producer Friedman said, "I think that for now we're going to abandon making any more 'super blood and gore' movies, since so many of our contemporaries are launching similar productions, causing a risk that the market will quickly reach a saturation point." [21]
Lewis wrote a novelization of Blood Feast to coincide with the release of the film. [22] The novel, which features significantly different versions of central characters Fuad Ramses, Pete Thornton and Suzette Fremont, has a much more humorous tone than the film and is set in Chicago rather than Miami. It was reprinted by FantaCo Enterprises in the 1980s.[ citation needed ]
A black-and-white two-issue comic book adaptation of the film was published by Eternity Comics in 1991. It was written by Jack Herman, penciled by Stan Timmons and inked by Mike Matthew. [23]
Blood Feast was the first part of Lewis' "Blood Trilogy", with the others being Two Thousand Maniacs! and Color Me Blood Red . [24]
A sequel, Blood Feast 2: All U Can Eat , was released in 2002. It takes place years after the first film, with Fuad's grandson following in his grandfather's footsteps. It marked the first time Lewis and Friedman had worked together on a film in 36 years. [25]
Blood Diner (1987) was produced with the intention of making it a "spiritual sequel" to Blood Feast. [26]
A remake directed by Marcel Walz and starring Robert Rusler as Fuad Ramses, was given a limited theatrical release on June 23, 2017. [27] [28] [29]
A slasher film is a subgenre of horror films involving a killer or a group of killers stalking and murdering a group of people, usually by use of bladed or sharp tools. Although the term "slasher" may occasionally be used informally as a generic term for any horror film involving murder, film analysts cite an established set of characteristics which set slasher films apart from other horror subgenres, such as monster movies, splatter films, supernatural and psychological horror films.
Cabin Fever is a 2002 American comedy horror film co-written and directed by Eli Roth and the first installment in the Cabin Fever franchise. The film stars Rider Strong, Jordan Ladd, James DeBello, Cerina Vincent, Joey Kern, and Giuseppe Andrews. Inspired by a real-life experience where Roth developed a skin infection during a trip to Iceland, the story follows a group of college students who rent a cabin in the woods and fall victim to an unknown flesh-eating disease.
A splatter film is a subgenre of horror films that deliberately focuses on graphic portrayals of gore and graphic violence. These films, usually through the use of special effects, display a fascination with the vulnerability of the human body and the theatricality of its mutilation. The term "splatter cinema" was coined by George A. Romero to describe his film Dawn of the Dead, though Dawn of the Dead is generally considered by critics to have higher aspirations, such as social commentary, than to be simply exploitative for its own sake.
Blood Sucking Freaks is a 1976 American exploitation splatter film directed by Joel M. Reed and starring Seamus O'Brien, Luis De Jesus, Viju Krem, Niles McMaster, Dan Fauci, Alan Dellay, and Ernie Pysher. Set in New York City, the film follows a human trafficking ring masquerading as an experimental theater group, which stages Grand Guignol-style performances for audiences, who are unaware that actual murders and torture are being enacted onstage.
The Plague of the Zombies is a 1966 British horror film directed by John Gilling and starring André Morell, John Carson, Jacqueline Pearce, Brook Williams, and Michael Ripper.
David Frank Friedman was an American filmmaker and film producer best known for his B movies, exploitation films, nudie cuties, and sexploitation films.
Herschell Gordon Lewis was an American filmmaker, best known for creating the "splatter" subgenre of horror films. He is often called the "Godfather of Gore", though his film career included works in a range of exploitation film genres including juvenile delinquent films, nudie-cuties, two children's films and at least one rural comedy. On Lewis' career, AllMovie wrote, "With his better-known gore films, Herschell Gordon Lewis was a pioneer, going further than anyone else dared, probing the depths of disgust and discomfort onscreen with more bad taste and imagination than anyone of his era."
Two Thousand Maniacs! is a 1964 American horror film written and directed by Herschell Gordon Lewis and starring 1963 Playboy Playmate Connie Mason. It follows a group of Northern tourists who are savagely tortured and murdered during a Confederate celebration of a small Southern community's centennial.
Connie Mason is an American model and actress who was Playboy magazine's Playmate of the Month for its June 1963 issue. Mason then acted in the gore movies pioneered by Herschell Gordon Lewis, Blood Feast and Two Thousand Maniacs! Her centerfold was photographed by Pompeo Posar. She was also a Playboy Bunny at the Chicago club.
Color Me Blood Red is a 1965 American splatter film written and directed by Herschell Gordon Lewis about a psychotic painter who murders people and uses their blood as paint. It is the third part of what the director's fans have dubbed "The Blood Trilogy," including Blood Feast (1963) and Two Thousand Maniacs! (1964).
The Wizard of Gore is a 1970 American splatter film directed by Herschell Gordon Lewis and starring Ray Sager, Judy Cler, and Wayne Ratay. The screenplay was written by Allen Kahn.
Blood Diner is a 1987 American horror comedy directed by Jackie Kong and starring Rick Burks, Carl Crew, Roger Dauer, LaNette LaFrance, and Lisa Guggenheim. It was written by Michael Sonye. The plot follows two brothers setting up a vegetarian restaurant as a front for them to kill women and collect their severed body-parts to resurrect the Lumerian goddess Sheetar.
Blood Feast 2: All U Can Eat is a 2002 slasher splatter film directed by Herschell Gordon Lewis and starring John McConnell, Mark McLachlan, Melissa Morgan, Toni Wynne, and J.P. Delahoussaye. It is the sequel to the 1963 film Blood Feast. Filmed under a working title of Blood Feast 2: Buffet of Blood and using the same grindhouse style as its predecessor, the film continues the story began in the original film, where a grandson of Fuad Ramses attempts to restart his grandfather's catering business. The film depicts the killer falling victim to spirit possession by the goddess Ishtar.
The Gore Gore Girls is a 1972 comedy horror splatter film directed by Herschell Gordon Lewis.
Blood Freak is a 1972 American horror film directed by Brad F. Grinter and starring Steve Hawkes, Dana Cullivan, Heather Hughes, and Bob Currier.
The Wizard of Gore is a 2007 splatter/noir horror film directed by Jeremy Kasten and starring Kip Pardue, Bijou Phillips, Crispin Glover, Joshua Miller, Brad Dourif, Jeffrey Combs, and the Suicide Girls. The film is a remake of the 1970 Herschell Gordon Lewis film of the same name.
Terror Is a Man is a 1959 black-and-white Filipino/American horror film directed by Gerardo de Leon.
El fantasma del convento is a 1934 Mexican horror film directed by Fernando de Fuentes, who also co-wrote and edited the film.
Daughter of the Sun is a 1962 sexploitation comedy film directed by Herschell Gordon Lewis and produced by David F. Friedman. The film follows a young teacher who may lose her job after she is discovered to be a nudist. Lewis and Friedman produced the film after the success of the 1961 nudie cutie The Adventures of Lucky Pierre.
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