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The Incredibly Strange Films Of Ray Dennis Steckler Part Three (Severin Films) Blu-ray

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  • The Incredibly Strange Films Of Ray Dennis Steckler Part Three (Severin Films) Bluray

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    Released by: Severin Films
    Released on: September 27th, 2022.
    Director: Ray Dennis Steckler
    Cast: Ray Dennis Steckler, Carolyn Brandt, Bernard Fein, Gary Kent, Bunny Allister, Ray Hadock
    Year: 1969, 1969, 1971
    Purchase From Amazon

    The Incredibly Strange Films Of Ray Dennis Steckler Part Three – Movie Review:

    This third part of our coverage of Severin Films's The Incredibly Strange Films Of Ray Dennis Steckler Blu-ray collection will cover discs five and six in the collection, and here we see Steckler diving into private eye shenanigans, sleaze, Satanism and cheap gore!

    Disc Five – Body Fever / Sinthia: The Devil’s Doll:

    Body Fever, directed in 1969 and co-written by Steckler and William Edgar, is Steckler’s take on the Bogart style private eye movie, albeit one made without much of a budget and with what was, at this point in his career at least, a lot of the director’s stock players appearing in different roles.

    Steckler himself stars as Charlie Smith (and he is billed under his real name here and not his usual ‘Cash Flagg’ pseudonym!), a private eye who doesn’t really seem to have a whole lot going on aside from some casual flirtations with his secretary. One day, out of nowhere, a big guy named, appropriately enough, Big Mack (Bernard Fein and his insane chest hair – he’s the guy who created Hogan’s Heroes), who has a Wild Guitar lobby card hanging in his office, hires him to track down a foxy dark haired lady named Carrie Erskine (played by Carolyn Brandt, of course!) who has stolen a whole lot of heroin from him. She did this but donning a snakeskin body suit and a cat mask and sneaking into his digs and making off with the smack undercover of the darkness, or something like that. It’s a neat scene to watch, even if it doesn’t make much logical sense. Also, Charlie lives on a boat that no one is supposed to know about, but which everyone seems to be able to find without any trouble.

    At any rate, after Maureen snatched the smack, the smack was, in turn, stolen from her. Big Mack doesn't know this, he just wants his junk back so he can turn it into cash. Charlie takes the job and starts digging around for whatever info he can find on Maureen. This takes him to a photo shoot, and then a house down the road from the photo shoot put on by a man named Fritz (Ron Haydock), and then eventually to a swinging party where some weirdos get down and boogie. Along the way, we learn that the only guy Charlie can trust is the old man who ran a failing laundromat, soon closing down because apparently all of his customer used wooden coins and stole all his soap. Clearly, this is a bad part of town.

    Charlie, ladies’ man that he is, makes it with a gal or two along the way but once he does finally track Maureen down, he falls for her. They make out a lot and then she makes him an offer: if he helps her get the dope back, she'll cut him in on half of the money. Will he take her up on her offer or finish the job he started? And what will Big Mack and his cronies think about all of this?

    Much less suspenseful than it probably sounds, Body Fever (also known as Deadlocked and Supercool) features Steckler in four love scenes, so it’s got that going for it. It is, like most of his films, oddly paced and made on a budget that probably wouldn’t even cover the catering on most B-pictures, but it’s got that weird, oddball Steckler charm to it that makes it watchable. Brandt isn’t much better in the acting department but she looks great in that screwy snakeskin suit and has enough sex appeal in the role that it sort of works. Bernard Fein, who did loads of acting in television, appears here in his final role and he plays the mob boss stereotype pretty well, even if it definitely is a stereotype that he’s playing. Gary Kent pops up here as a tough guy, and plays his tough guy well, and he might have been a better choice for the lead than Steckler – but then, Steckler mentions is one of his commentaries that he didn’t like seeing wife Brandt kiss other men, and that could very well be part of the reason he cast himself in the part. Joseph Brado from The Thrill Killers, Coleman Francis from The Lemon Grove Kids and The Thrill Kilers and Herb Robins from Sinthia: The Devil's Doll, The Lemon Grove Kids and The Thrill Killers all pop up in the movie as well.

    Steckler’s performance in the lead role is weirdly endearing. He’s not a great actor and he seems to basically just be playing himself here, but he’s somehow kind of fun in the part, running around the city in a floppy Gilligan-style white hat bedding chicks and having poorly choreographed fights with bad guys. The attempt at hard boiled dialogue never comes across as particularly convincing mainly because Steckler flat out does not work as a tough guy, but again, there’ something likeable about the guy that goes a long way towards making this as watchable as it is.

    The movie also benefits from some nice location footage, showing off some of the a couple of the seedier sides of the city as they were in the late sixties when the movie was made. The instrumental score used as an attempt to highlight drama and tension sometimes feels at odds with the movie itself, but again, that just adds to the overall wonky feel over the movie as a whole.

    Moving right along, 1970's Sinthia: The Devil's Doll, co-written by Steckler and Herb Robins, was directed by Steckler under the alias of Sven Christian, presumably in an attempt to make the movie sound more exotic, possibly European, in origin. It doesn't work.

    Sinthia tells the story of Cynthia Kyle (Bunny Allister, credited as Shula Roan, who also appeared in The Curious Female the same yeat and then seemingly disappeared) who kills her parents one night after walking in on them bumping uglies, burning down the house as she splits. With the most miminal of setups out of the way, as she grows older and sets to marry, she's plagued by bad dreams about her past. She decides to see a shrink who tries to explore the sexual feelings she may have felt for her dear, departed father.

    Now dubbed Sinthia, the Devil's Doll, explaining why the film has its title and explains the odd misspelling of the titular character’s name, Sinthia falls asleep and experiences strange, sex fueled hallucinations of a sort. Then Lucifer forces her to wander through a psychedelic world of dreams in this ultra-bizarre mix of skin, daddy-lust and art-film exploitation. Much bizarre nudity occurs as Sinthia, fully entwined in the clutches of the dark lord, is put through various set pieces that involve all manner of cliché sexual exploitation tactics. It is eventually decided that she has to go back into her weird dream world and kill herself in order to break free of whatever bizarre hold the devil may or may not really have on her in the first place.

    Nearly plotless, Sinthia: The Devil's Doll is an absolute mess as far as its narrative is concerned. That said, as a trashy, goofy, occult-themed piece of softcore sexploitation, its psychedelic weirdness and goofy, lounge music fueled soundtrack can lure you into a state of... something. Steckler, who shot the movie himself, uses weird camera tricks like multiple exposures and kaleidoscopic effects in an attempt to at least create something a little different than what we've seen before. On that level, the movie gets some credit, because as terrible as it is in certain ways, it is legitimately unlike anything else out there.

    The script, which probably didn't really exist, and dialogue is pretty bad. Sinthia calls out for her father over and over again throughout the hallucinatory sex scenes, just in case we didn't catch on to that angle the first few times it's brought up. The movie doesn't believe in subtly. The acting is bad, Bunny Allister was clearly cast not for her abilities as an actress but her willingness to get naked and look good doing it. Not that there's anything wrong with that, but keep your expectations in check as far as the performances go. Gary Kent shows up on this one as well, as does Robins himself.

    This’ll definitely be an endurance test for some, but if you’re in the right frame (or state) of mind when you watch it, it’s sleazy thrills can offer some entertainment value and it is interesting to see Steckler experiment with ‘art cinema’ techniques here and there in amongst all the bumping and grinding.

    Disc Six – Blood Shack:

    Directed by Steckler (credited as Wolfgang Schmidt!) and co-written by Steckler and frequent collaborator Ron Haydock, 1971's The Chooper, a Cine Paris Films production, stars Carolyn Brandt once again, this time cast as a woman named Carol who inherits a ranch house out in the middle of the desert. At least we assume she inherited it. It's never really explained, except that she shows up and everyone sort of recognizes the fact that she is, indeed, the rightful owner of this ramshackle abode.

    But before we get to Carol, a cute blonde woman named Connie (Laurel Spring) shows up with two dudes. She wants to spend the night but the local handyman, Daniel (Jason Wayne) says no way, don't do that, the place is haunted and 'The Chooper' will get you! The two guys take off but Connie needs to prove something so she hunkers down for the evening, only to get murdered a short time later. Daniel finds her bodies and buries it somewhere no one will ever find it.

    Anyway, Carol gets harassed by a guy named Tim (played by Hadock) who wants to buy the land from her. She isn't selling but he is insistent about it. It turns out there's a lot of water under Carol's land and she has the rights to it. In the middle of the desert, that's worth a lot of money. At one point, everyone goes to the rodeo and Connie's husband shows up looking for her, only to get yelled at by Daniel, just like everyone else in the movie. Daniel yells at everyone! A few more people get stabbed by a guy dressed like a ninja, and there's a Scooby Doo ending. Also, we get to meet a pony named Peanuts and see Steckler's two daughters, Linda and Laura, play good natured goofball kids named Margie and Barbra. A cop (Steve Edwards) shows up at one point hoping to find out what's going on but it doesn't matter, because

    Blood Shack is great! Well, maybe not great but it’s pretty fun, and very short, running only fifty-five minutes or so. Brandt spends a good part of the movie in a white mini dress and matching go-go boots, which doesn't seem like the best attire for creeping about in the desert but hey, she looks good doing it. She also provides some weird, ethereal narration on and off throughout the movie. The movie is pretty nicely paced and the desert locations give the movie a lot of production value, and honestly, it can use all the help in can get in that department, because as is typical of Steckler’s movies, this was clearly made without any money.

    Anytime The Chooper shows up, the movie is gold. The drama and plot about the ranch and the water is fine, and the rodeo is good entertainment if you’re into rodeos, but really, the best parts of the movie (aside from the scenes where people’s hats fly off at random and seemingly quite by accident) involve a skinny guy in a black leotard and mask running about with a skinny sword growling and attacking people. The Chooper is awesome because while the myth says that he’ll kill you if you go in the house, he’ll also kill you if you just sort of hang out around the house. He may also jump off of something and kill you. But what’s important is that he will kill you and that he’ll use his very inconvenient looking skinny sword to do it. You’d think since everyone who lives in the desert owns seven guns that someone would have shot The Chooper but he’s allowed to kill a lot of people, Daniel all the while yelling at everyone about him and burying the bodies he leaves in his wake.

    The acting in the movie is no better or worse than the acting in most of Steckler’s movies, which means that by mainstream standards it definitely isn’t good but that by cult and B-movie aficionado standards it is just fine. Again, Steckler works with family and friends on the movie, and at this point in the boxed set, if the movies are watched in the order they’re presented, viewers will be pretty familiar with a lot of the faces that show up on screen. This adds some weird charm to the movie – but really, everything is overshadowed by the awesomeness of The Chooper himself.

    Note that this disc also includes the slightly longer alternate The Chooper cut of the movie. The difference between this version and the Black Shack version, aside from the title, is alternate (and cooler) opening and closing credits sequences and a fair bit more footage of everyone having a good time at the rodeo! The score also differs between the two movies.

    The Incredibly Strange Films Of Ray Dennis Steckler Part Three – Blu-ray Review:

    Body Fever was scanned and restored in 2K from its 16mm camera reversal AB rolls with restoration
    by Sebastian Del Castillo and color correction by Steve Peer. Offered up in AVC encoded 1080p high definition and framed at 1.85.1, it looks quite good. Grainy, to be sure, with some white specks here and there, but offering pretty solid detail and nice color reproduction and good black levels. Skin tones are lifelike and accurate throughout and there are no problems with any compression, noise reduction or edge enhancement, everything always looks properly like film.

    Sinthia: The Devil's Doll, which shares a 50GB disc with Body Fever, was scanned and restored by AGFA from a 16mm release print from the Something Weird Video Archive. Restoration and color correction was done by Sebastian Del Castillo. This one looks murkier and rougher than Body Fever by a noticeable margin, but the presentation can only be as good as the elements will allow for and we still see a very nice upgrade here from the older Something Weird DVD release which paired the movie with Satanis, The Devil’s Mass. Detail isn’t super strong but when the scenes are nicely lit it’s definitely there. Colors generally look good, if not always as consistent as some of the other movies in the set. This is certainly a watchable presentation that takes advantage of the format, but clearly the elements were in less than perfect shape.

    Blood Shack was scanned and restored in 4K from its 35mm dupe negative with a restoration by Sebastian Del Castillo and color correction by Steve Peer. The film is presented in AVC encoded 1080p high definition and framed at 1.33.1. It looks quite good. Again, it’s grainy but it shows pretty nice detail and good colors. The palette used in the movie is dusty and heavy on browns, since much of it takes place outside in the desert, so it doesn’t pop the way something like Body Fever does at times, but overall it does look very good and would seem to be a pretty accurate representation of what the feature should look like. Skin tones are fine and black levels are good and once again this looks like film.

    The Chooper alternate version was scanned and restored in 2K from the only known 16mm answer print of this cut with restoration by Sebastian Del Castillo and color correction by Steve Peer. The Chooper is also presented in AVC encoded 1080p high definition and framed at 1.33.1 and it doesn’t look quite as crisp and detailed as the Blood Shack version but it still looks pretty solid, offering good depth and detail throughout without any noticeable digital scrubbing or compression issues.

    Body Fever and Sinthia: The Devil’s Doll each get 24-bit lossless DTS-HD 2.0 Mono Master Audio tracks with optional subtitles offered up in English only. They sound fine, but again, source material limitations play a factor here. There’s some occasional hiss here and there but for the most part the tracks are clean, clear and properly balanced. Blood Shack and the alternate The Chooper cut both get a 24-bit DTS-HD 5.1 Master Audio mix with optional English subtitles and while there isn’t a lot of surround activity here to discuss, the mix itself sounds fine. The dialogue is, for the most part, pretty clear and the scores sound good.

    Disc Five – Body Fever / Sinthia: The Devil’s Doll:

    Extras for Body Fever start off with an archival audio commentary with Ray Dennis Steckler, who notes that he wanted to give the movie the look of a film noir but also a European film. He notes that Brandt designed her costumer herself in the opening scene, how the original title was supposed to be 'The Last Original B-Movie,' some of the locations that were used and working with a lot of the cast and crew he'd collaborated with on movies he'd made previously. He talks about who did what behind the camera, where some of the sets were set up, shooting some of the movies he made in his cellar (including Sinthia: The Devil's Doll), the wardrobe on display in the movie, having to shoot on a boat, his personal feelings on drugs and why he hates them but not wanting to make too much of a message movie, the complicated shooting schedule, making the inside of his house look like an alleyway, thoughts on his own performance and how he basically plays himself in the movie, making up most of the movie as they went along, meeting with Russ Meyer who wanted him to be a camera operator on a movie and why Meyer didn't use him, shooting the fight scenes, editing the picture and the importance of being able to use what you have when making a super low budget movie.

    A new audio commentary with Dark Eyes Of London’s David Dent, who goes over the different titles that the film has been known as over the years, the details of Program Releasing and where Steckler got the name for it from, the locations that were used for the shoot, the odd structuring of the movie, details on the different cast and crew members that worked on the picture, details on Haydock's life and career as well as the mystery surrounding his demise and if he took his own life or not, Steckler's work on the Jefferson Airplane 'White Rabbit' promo film and who really did the dance moves in it, the film's score and cinematography and more.

    A three minute archival interview with Ray Dennis Steckler sees the director talk about doing his work on commercials and having an office in Los Angeles, wanting to do a detective movie, shooting the movie and things going wrong quickly, getting rid of his leading man after tearing off his hairpiece and instead playing the part himself. He goes over this in the commentary as well but it's fun to see him as animated here as he is when he recalls it.

    An archival interview with Carolyn Brandt, which is really a conversation between she and Steckler, runs ten minutes and lets the film's leading lady go over how much fun it was to work on the movie, the enthusiasm for the foreign films of the time, how she liked the music in the movie, her costume work in this and other movies, her thoughts on her character in the movie, shooting so much of the movie in their house in Bronson Canyon, the freeness that she had in most of her scenes, memories of some of her co-stars and other memories from the shoot.

    The disc also includes an interview with Steckler from The York Theatre in San Francisco that runs for twenty-five minutes. In this piece, Steckler, who was showing some of his movie at the theater at the time courtesy of the Re/Search Incredibly Strange Films book and Equator magazines, how happy he was to be showing some of his movies at a theater after so many years, what he'd been doing before this resurgence started, making movies to have fun and the importance of having fun while doing it given how much work it can be, real world serial killers and weirdos and how that worked its way into The Thrill Killers, whether or not he used a script, casting his movies and lots more. This piece also includes an interview with 'Boyd,' the guy who played Cash Flagg at the screening of The Thrill Killers as they used the gimmick of having a maniac loose in the audience of the screening.

    Last but not least, the disc also contains some work print footage from an unfinished film that was started after Body Fever titled Bloody Jack. This material was scanned from a surviving fragment of its 16mm workprint with color correction by Joe Rubin and it is presented in AVC encoded 1080p high definition and framed at 1.33.1. The first minute is presented without sound but it shows Brandt getting a gun from a man played by Steckler, a lot of what looks like street fair or carnival footage. From there, we do get some sound footage and see Steckler's character, named Charlie, interact with Brandt about some footage that they found and calling the cops. The material bounces back and forth between material shot with sound and silent footage and while it's tough to really try and figure out what's happening as far as the narrative goes (it seems that Charlie, a filmmaker dealing with less than wholesome material, got ahold of some incriminating footage of a killer who then kidnaps Brandt's character), it's great to see a good amount of footage from this project included here, much of it is quite interesting at least from an archival perceptive. Plenty of other performers show up in the footage aside from Steckler and Brandt, including a man named Sanchez who tells Steckler, when he asks for tacos, "no tacos here, but I've got a big burrito here for you, baby!" There's also a nasty murder scene where a bound and naked woman gets cut up by a lunatic with a knife and a second murder where the same killer stabs a fat guy near a pay phone.

    Disc Six – Blood Shack:

    An audio commentary with Steckler starts off the extras on this disc, in which we hear the director talk about shooting on location in Death Valley, what it's like working in the desert and the problems that arise from that, what went into casting the movie, having to run power from the house nearby for the lights in The Chooper's house, using dramatic license to prolong some of the better scenes in the movie, why certain scenes are lit the way they are, using his daughters in the movie, feeding the cast and crew using hot dogs they cooked up on a portable grill, using Haydock's car in the movie, where Peanuts the pony came from and more. He spends way too much time in this track narrating what we're seeing on the screen. During the first murder scene Steckler makes a lot of weird noises and says 'eek eek eek' a lot and throughout the movie will periodically sing and make more weird noises.

    Up next is an interesting introduction By Joe Bob Briggs that runs six minutes and lets him talk about some of the quirkier elements of the movie, his thoughts on the characters and the performances and the alternate cut of the film.

    A fourteen minute archival interview with Ray Dennis Steckler explains why the movie is called The Chooper, shooting the movie for five hundred dollars, scouting locations for the film, the differences between the two movies, the relationships between the men and women in the movie, when and where he may have accidently copied things in his movies, working with his kids and needing to be careful with them on set, how he feels about the movie overall, making the movie intended for a theatrical run, the importance of having Brandt and her amazing wardrobe in the film and the importance of doing something with your life.

    An archival interview with Carolyn Brandt runs just under eleven minutes, she is again interviewed by Steckler in this piece. She talks about the way that women characters were portrayed in horror movies at this point in time and inadvertently playing a strong woman in the film, Steckler's alias for the directing credit, the different titles the film is known under, not having much of a script to work off of, the importance of being able to adjust on the set and go with the flow, thoughts on her co-stars and working with the kids in the movie, how a lot of personal footage came out of the shoot, thoughts on Haydock playing the villain, reusing trims from Body Fever in the movie and more.

    Closing out the supplements on this disc are just under thirteen minutes of outtakes - we get some oddball art from the opening credits, footage of Steckler wandering around on the locations and interacting with his cast and crew, more footage of the kids jumping up and down on the bed in The Chooper's house and more. All of this material is silent but it's cool to see it here.

    The Incredibly Strange Films Of Ray Dennis Steckler Part Three - The Final Word:

    Discs five and six of Severin Films’ The Incredibly Strange Films Of Ray Dennis Steckler Blu-ray boxed set document a very different period of the director’s career than the first two discs do. His color work has a different vibe to it and it’s interesting to see him experiment with the format from time to time. The movies themselves are pretty entertaining and, again, it’s fun to see him working with so many of the same players and playing around in different genres with as much enthusiasm as he clearly had. The presentations here are very strong, and the discs are packed with extra features.


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    • Phase IV (Vinegar Syndrome) UHD/Blu-ray Review
      Ian Jane
      Administrator
      by Ian Jane


      Released by: Vinegar Syndrome
      Released on: March 26th, 2024.
      Director: Saul Bass
      Cast: Nigel Davenport, Michael Murphy, Lynne Frederick, Alan Gifford, Robert Henderson, Helen Horton
      Year: 1974
      Purchase From Amazon

      Phase IV – Movie Review:

      Saul Bass’ 1974 sci-fi/thriller Phase IV is an interesting blend of nature run amuck stereotypes and Natural Geographic style nature footage mixed into one delicious cocktail of suspense and
      ...
      03-15-2024, 01:02 PM
    • The Bounty Hunter Trilogy (Radiance Films) Blu-ray Review
      Ian Jane
      Administrator
      by Ian Jane


      Released by: Radiance Films
      Released on: March 26th, 2024.
      Director: Shigehiro Ozawa, Eiichi Kudo
      Cast: Tomisaburo Wakayama, Minoru Ôki, Arashi Kanjuro, Bin Amatsu, Chiezo Kataoka
      Year: 1969-1972
      Purchase From Amazon

      The Bounty Hunter Trilogy – Movie Review:

      Radiance Films gathers together the three films in Toie Studios’ Bounty Hunter Trilogy, starring the inimitable Tomisaburo Wakayama. Here’s how the three movies in this
      ...
      03-13-2024, 11:30 AM
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