THE PREY (US - 1984) Directed by Edwin Scott Brown. Written by Summer Brown and Edwin Scott Brown. Cast: Debbie Thureson, Steve Bond, Lori Lethin, Robert Wald, Gayle Gannes, Philip Wenckus, Jackson Bostwick, Jackie Coogan, Carel Struycken, Connie Hunter, Ted Hayden, Garry Goodrow. (R, 80 mins) If nothing else, THE PREY serves as proof that anything can merit cult classic status if it's the product of a bygone era that's held in much sentimental regard by genre fans. A fixture in video stores and in regular rotation on late-night cable back in the day, THE PREY has fallen into almost total obscurity in the decades since. So of course, scenesters lost their shit when Arrow announced a deluxe edition Blu-ray, because physical media is dead and every long-lost, forgotten slasher movie must be an unheralded classic waiting to be rediscovered (have none of you seen PET SEMATARY? Sometimes dead is better). Shot in 1979 and 1980 but unreleased until 1984, THE PREY would seem to be indebted to the survivalist likes of RITUALS and it also prefigured the post-FRIDAY THE 13TH slasher explosion (THE BURNING, in particular), but manages to do just about everything wrong. The story seems foolproof enough: three young couples--Nancy (Debbie Thureson) and Joel (future PICASSO TRIGGER star Steve Bond), Bobbie (BLOODY BIRTHDAY's Lori Lethin) and Skip (Robert Wald), and Gail (Gayle Gannes) and Greg (Philip Wenckus)--are hiking and camping through the remote Northpoint area of Keen Wild, the location of a destructive forest fire in 1948, and there's a monstrous, deformed, burn-scarred killer (Carel Struycken) in the wilderness and before long, he's stalking and offing them one by one.
But THE PREY takes a long time to get to where it's going, which is hard to fathom when you consider that it's only 80 minutes long. Director/co-writer Edwin Scott Brown has so little material that he pads the running time with shots of everyone talking, hiking, standing around, and sitting around, in addition to a ton of nature stock footage. It gets even slower with the introduction of a weirdo park ranger (Jackson Bostwick, who looks like a creepy 1979 Zac Efron), who's seen strumming a banjo and having a heart-to-heart chat with a fawn (!) before joining his flummoxed boss (Jackie Coogan, who died in early 1984, several months before the film's belated release) and sharing some cucumber-and-cream cheese sandwiches on oatmeal bread that both actors eat in real time while they alternately discuss a missing middle-aged couple and just sit chewing in silence. It's possible that the free cucumber-and-cream cheese sandwiches are why Coogan even signed on, as he's a long way from his days as Uncle Fester on THE ADDAMS FAMILY and an even greater distance from his time as cinema's first famous child star opposite Charlie Chaplin in 1921's THE KID (as if appearing in THE PREY wasn't demeaning enough, Coogan's introduction is accompanied by the sound of a flushing toilet). Brown and his producer/co-writer wife Summer Brown were undoubtedly working outside of their comfort zone on this one-and-done attempt at mainstream crossover, having already established themselves in the hardcore porn industry, with Edwin directing under a variety of aliases, including "Edwin Durell" and "Stephen Lucas."
And yet, somehow, THE PREY has a following. And if you're so inclined, rest assured, it's granted a Criterion-level Blu-ray package that offers more of this film than even its most ardent defender thought possible or even within the realm of reason or sanity. While this languished on the shelf for several years before hitting a few American theaters and drive-ins, the financiers at Essex Productions decided to overhaul the whole thing for the overseas market, losing almost all of the nature stock footage and inserting a 25-minute (!) flashback sequence set at a gypsy camp and showing the origin of the killer and how it related to the forest fire in the opening shot. This new footage was shot at some point in 1981, and neither Edwin nor Summer Brown had anything to do with it, despite the presence of some moonlighting XXX stars like John Leslie, Arcadia Lake, and Eric Edwards in a few softcore sex scenes.
When THE PREY was finally picked up by a post-Roger Corman New World Pictures in 1984, it was the Browns' preferred 80-minute version, minus the "gypsy flashback." As you might guess, Arrow's Blu-ray features not only the 80-minute domestic version and the 97-minute international version, but also a 103-minute (!) composite fan cut which combines the footage from both versions into the ultimate (?) PREY experience. Even in the short version, THE PREY is tedious, terribly-acted, and boring as hell, with absolutely nothing happening until the last 15 minutes, but there are a few scattered positives to be found: the score makes significant use of Stravinsky's "Glorification of the Chosen One," from The Rite of Spring (also known to trash connoisseurs for its presence in Mario Bava's THE HOUSE OF EXORCISM); John Carl Buechler's makeup and latex work on Struycken serves as an amusing test run for the stuff he'd do for Empire Pictures a few years down the road; the last shot is queasily perverse; and some of the location work in Idyllwild and San Bernardino National Forest (the same area where the recent BODY AT BRIGHTON ROCK was shot) is impressive, as are some shots of Bond scaling the famous Suicide Rock. Most importantly, the New World poster art's killer tag line--"It's not human and it's got an axe"--is an '80s exploitation gem that deserves to accompany a much better movie.
DR. HECKYL & MR. HYPE (US - 1980) Written and directed by Charles B. Griffith. Cast: Oliver Reed, Sunny Johnson, Maia Danziger, Virgil Frye, Mel Welles, Kedric Wolfe, Jackie Coogan, Corinne Calvet, Sharon Compton, Denise Hayes, Charles Howerton, Dick Miller, Jack Warford, Lucretia Love, Ben Frommer, Joe Anthony Cox (Tony Cox), Yehuda Efroni, Michael & Steve Ciccone, Candi & Randi Brough, Herta Ware, Dan Sturkie. (R, 98 mins) Though it sports the credit "Screenplay by Charles B. Griffith...with apologies to Robert Louis Stevenson," that pre-emptive mea culpa doesn't begin to atone for DR. HECKYL & MR. HYPE, an astonishingly unfunny comedy/horror knockoff of THE NUTTY PROFESSOR and probably the worst film of Oliver Reed's career. Just out on Blu-ray from Scorpion (because physical media is dead), it was also directed by Griffith (1930-2007), a longtime associate of Roger Corman's going back to 1956's GUNSLINGER. Griffith's place in cult movie history is secure thanks to his screenplay credits on two early Corman classics--1959's A BUCKET OF BLOOD and 1960's THE LITTLE SHOP OF HORRORS--as well as 1975's Corman-produced DEATH RACE 2000. Griffith also wrote notable Corman titles like 1957's NOT OF THIS EARTH and ATTACK OF THE CRAB MONSTERS and 1966's THE WILD ANGELS, and it was good that he was able to dine out on that connection for so long, because when left to direct his own films, the results land in varying degrees of unwatchability, with two of his projects for Corman--1979's JAWS ripoff UP FROM THE DEPTHS and 1981's Jimmy McNichol car chase comedy SMOKEY BITES THE DUST--ranking among the very worst films ever released under the auspices of Corman's New World Pictures.
Sandwiched between those two bottom-of-the-barrel duds was DR. HECKYL & MR. HYPE, which isn't a Corman production but certainly feels like a particularly abysmal one. Instead, it was produced by Menahem Golan and Yoram Globus in the early days of their Cannon reign, before they carved their niche as the home of Charles Bronson, Chuck Norris, and all things ninja, which kept the lights on while they made doomed, clandestine deals on cocktail napkins. Golan and Globus were still finding their footing in Hollywood, and several of their releases around 1979-1980--GAS PUMP GIRLS, INCOMING FRESHMEN, HOT T-SHIRTS, THE HAPPY HOOKER GOES HOLLYWOOD--seem more like standard-issue New World drive-in offerings from the time. That's especially so with DR. HECKYL & MR. HYPE, from the involvement of Griffith, in one of the very few films he would make away from Corman, to the presence of Corman and/or New World stalwarts like Mel Welles (THE LITTLE SHOP OF HORRORS), Kedric Wolfe (UP FROM THE DEPTHS), Corinne Calvet (TOO HOT TO HANDLE), Charles Howerton (EAT MY DUST), and the legendary Dick Miller, perfectly cast as a loudmouth garbageman. What HECKYL lacks is the sense of exploitation and fun that Corman films almost always delivered (unless it was a movie helmed by Charles B. Griffith), barely earning its R rating and even cutting away at the first hint of nudity that doesn't even arrive until late in the film, which is something Corman never would've tolerated in a New World product. DR. HECKYL & MR. HYPE is so deadeningly tedious and so mind-bogglingly awful that one can't help but wonder if Griffith initially took his script to Corman, only to have him thumb through it, answer a phone that wasn't really ringing, tap his watch and politely say "Yeah sorry, Chuck, I, uh, I got a thing."
The idea of spoofing The Strange Case of Dr. Jekyll and Mr. Hyde is nothing new. Abbott and Costello met the pair in 1953, and THE NUTTY PROFESSOR alredy reversed the formula, with nerdy, socially inept Dr. Julius Kelp turning into "Buddy Love," and is generally regarded as Jerry Lewis' crowning achievement. But HECKYL is absolutely dead on arrival, with Reed--not a guy noted for his comedic skills and in a role initially pitched to Dick Van Dyke--as Dr. Heckyl, a monstrously ugly podiatrist with boils, warts, a bulbous, misshapen nose, awful teeth, a red eye, mop-top hair with the texture of steel wool, green fingernails, and pale green skin, making him look very much like a live-action version of Weirdly Gruesome from THE FLINTSTONES. People flee from him in terror ("Mine is the face that ruins a sunny day," he says) but all he wants is to find love. His colleague Dr. Hinkle (Welles) has been experimenting with a weight loss serum that has a side effect of turning one into what they've coveted, so the obese women he's used as guinea pigs all become young and gorgeous in addition to losing weight. It only takes a drop to be effective, and after Hinkle interrupts his attempt at suicide via garden-shear decapitation, a depressed Heckyl guzzles a significant quantity of the serum and morphs into his own id, "Mr. Hype," a handsome, well-dressed lothario with a nasty penchant for killing his conquests and throwing them in the dumpster outside Heckyl's apartment. Heckyl has no idea what Hype has done when he reverts back to usual self, but his actions have gotten the attention of cigar-chomping Lt. Mack Druck, aka "Il Topo" (Virgil Frye) and Coral Careen (Sunny Johnson), a patient for whom Heckyl has been carrying a torch for some time.
Reed's early narration establishes some level of pathos for Heckyl, but the decision to make him look so cartoonishly off-the-charts grotesque undermines any attempt at plausible empathy for the character or his situation. It also doesn't work as a spoof, since a total of zero jokes land, most of them limited to Lt. Druck's flat feet (he's a flatfoot, get it?) and his "ingrown nail" just being a metal nail impaling his toe and removed with a pair of pliers, a sight gag that's aimed at five-year-olds. Elsewhere, the jokes are limited almost entirely to characters having silly names that are supposed to be funny in and of themselves, like Wolfe as another Heckyl colleague, the lecherous Dr. Lew Hoo; Jackie Coogan as bumbling Sgt. Fleacollar; Calvet as French seductress Pizelle Puree; Howerton as Clutch Coogar, a good ol' boy car salesman with two left feet (more childish sight gags), and others like "Herringbone Flynn," "Fritz Pitzle," "Fran Van Crisco," nurses Pertbottom, Lushtush, and Rosenrump, twin rookie cops (Michael and Steve Ciccone) named "Hollowpoint" and "DumDum," and another cop named "Gurnisht Hilfn."
Sunny Johnson (1953-1984)
There's nothing here for anyone other than the most fanatical Oliver Reed completist (and maybe the curio value of spotting future BAD SANTA sidekick Tony Cox, credited as "Joe Anthony Cox"). It's hard to imagine what Reed saw in this project other than easy money, but he actually appears to be trying here, though one can only imagine the flop sweat under his makeup and the drunken rages he hopefully indulged in off-camera. He gets to sink his teeth into some bile-soaked rants as Hype lashes out at his victims, surrogates for all the women who have rejected the virginal Heckyl based solely on his looks, but through the lens of 2019, it comes off like excerpts from a manifesto by the world's most debonair incel. HECKYL caught Reed just as his days as an A-list lead were winding down on his way to the world of straight-to-video. Not long after this, Reed would basically accept any offer if it paid enough, even starring in 1983's CLASH OF LOYALTIES, a three-hour, mega-budget Iraqi propaganda war epic produced by Saddam Hussein that played at a couple of film festivals but was never officially released anywhere but Iraq. He then became a regular presence in Harry Alan Towers-produced exploitationers shot in South Africa in the waning days of apartheid in the late '80s (DRAGONARD, CAPTIVE RAGE, GOR, SKELETON COAST, HOUSE OF USHER). Once in a while, there was a rare acclaimed lead (Nicolas Roeg's 1987 film CASTAWAY) and an occasional high-profile supporting gig (THE ADVENTURES OF BARON MUNCHAUSEN), up until his final role in 2000's Oscar-winning GLADIATOR. His wonderful performance as wizened old gladiator trainer Proximo would've undoubtedly kick-started a late-career Reedassaince had he not died during production in 1999, collapsing in a Malta bar from a heart attack after buying rounds for everyone and out-drinking a group of sailors, which even Reed would probably agree was the most Oliver Reed way to go. And though she's given little to do, Johnson manages to convey some charm as Coral, enough that you'll feel sad remembering that she died tragically young, taken off life support by her family following a ruptured brain aneurysm at just 30 in 1984, a year after she landed her best-known role as Jennifer Beals' figure-skating best friend in FLASHDANCE. DR. HECKYL & MR. HYPE was only given scant distribution in the fall of 1980 before being shuffled off to cable and home video. Griffith would return to the New World lumberyard for the worthless SMOKEY BITES THE DUST and retired from movies after 1989's WIZARDS OF THE LOST KINGDOM II, a cheapjack sequel from Corman's Concorde headlined by David Carradine, Sid Haig, and future Phil Spector murder victim Lana Clarkson, and stitched together with copious amounts of stock footage from THE WARRIOR AND THE SORCERESS, BARBARIAN QUEEN, AMAZONS, and DEATHSTALKER II.
HUMAN EXPERIMENTS (US - 1979) Directed by Gregory Goodell. Written by Richard Rothstein. Cast: Linda Haynes, Geoffrey Lewis, Ellen Travolta, Aldo Ray, Mercedes Shirley, Darlene Craviotto, Lurene Tuttle, Jackie Coogan, Marie O'Henry, Wesley Marie Tackitt, Caroline Davies, Cherie Franklin, Bobby Porter, James O'Connell, Teda Bracci. (R, 85 mins) There's a welcome drive-in grunginess to HUMAN EXPERIMENTS, a forgotten women-in-prison/psychological thriller mash-up that's just been rescued from obscurity thanks to a new Blu-ray release from Scorpion. It's not surprising that it looks and feels a lot like a TV-movie, as director Gregory Goodell went on to spend the rest of his career largely on teleplay duty for movie-of-the-week offerings like the 1986 Martin Sheen alcoholism drama SHATTERED SPIRITS for ABC and the 1992 Patty Duke supernatural thriller GRAVE SECRETS: THE LEGACY OF HILLTOP DRIVE for CBS, among numerous others. An early screenwriting credit for Richard Rothstein, who went on to create the HBO anthology series THE HITCHHIKER and co-write 1992's franchise-spawning UNIVERSAL SOLDIER, HUMAN EXPERIMENTS is Goodell's only feature film to date and he took the opportunity to revel in some hard-R sleaze with some skin and some gutter talk (including 1950s Hollywood vet Aldo Ray dropping a C-bomb), and a really grim downer of a scene where the heroine masturbates after moistening her fingers with her own tears. Despite the potential, it isn't nearly as over-the-top as a lot of films with a similar setting behind bars, but it still somehow ended up on the UK's infamous Video Nasties list (to lump the comparatively tame HUMAN EXPERIMENTS in with the likes of CANNIBAL HOLOCAUST and FACES OF DEATH shows how absurd the whole situation was). While its fusion of genres never quite gels and the villain's master gaslighting plan doesn't make a whole lot of sense, the whole project is offbeat enough, and demonstrates a well-deployed since of bitter irony in its denouement that it ends up an interesting curio even if it's not entirely successful.
HUMAN EXPERIMENTS is carried almost entirely by a go-for-broke performance by cult actress Linda Haynes as Rachel Foster, a small-time country music singer from Florida who's driving cross-country on the back roads, picking up gigs in dive bars in podunk towns along the way. At one stop in a California desert town, she's cheated out of a good chunk of her promised $50 by creep bar owner Matt Tibbs (Ray) and doesn't get any help from the asshole sheriff (Jackie Coogan!), who happens to be Tibbs' big brother. On her way out of town, she wrecks her car swerving to avoid hitting a bloodied, shell-shocked young woman in the middle of the road, and when she finds the nearest house to call the police, she walks into an in-progress massacre with an entire family being shotgunned to death by their teenage son. Rachel kills the son in self defense, but when Sheriff Tibbs arrives, he sees her holding a gun and decides to close the case immediately, with circumstantial evidence apparently all that's required to get her a life sentence for murder. She doesn't adjust well to life inside the oddly small facility, where the warden (Mercedes Shirley) is allowing prison psychiatrist Dr. Hans Kline (Geoffrey Lewis) to conduct secret brainwashing experiments on unwilling inmates in a perversion of rehabilitation where their minds snap and they come to believe they're someone completely different, a method that leads not so much to rehabilitation but "rebirth." Rachel soon begins questioning her sanity after she sees new friend Pam (Caroline Davies) hanging in a cell only to have the body disappear and be told she was paroled. There's other subtle examples of Kline playing mind games with her, like buying the car that was owned by the family she was convicted of killing and driving it past her on the prison grounds, and purchasing a painting found at Tibbs' scuzzy motel and hanging it in the prison rec room.
Kline's ultimate motive is still a little foggy even after it's explained, but he's the clear villain in that he's not above killing a test subject if he doesn't get the desired results. To that end, HUMAN EXPERIMENTS is somewhat of a precursor to the much trashier 1985 WIP potboiler HELLHOLE. It doesn't have the merciless scenery chewing of a heroin-addicted Ray Sharkey, but it does have a committed performance by Haynes in what was her only top-billed headlining gig. She's an absolute trooper in this, especially in one horrific scene where she's locked in solitary and cockroaches, spiders, and other insects are poured directly on her through a grate in the ceiling in an attempt to get her to break and let go of "Rachel" and become what Kline wants her to be. Born in 1947, Haynes had a short run in Hollywood in the 1970s, with a handful of feature films and several TV credits. Her most notable roles were as the love interests to dour and paranoid mob flunky Jason Miller in 1975's underrated THE NICKEL RIDE and to unravelling, vengeance-obsessed Vietnam vet William Devane in 1977's ROLLING THUNDER. Haynes had a quality that was hard to pin down, one that can best be described as "the cute girl next door who hit some rough patches and had a habit for falling for the wrong men but wants to get her shit together and settle down." This made her a very natural and unaffected presence in most of her films but Hollywood simply didn't know what to do with her. According to Goodell on the Blu-ray commentary, even the producers of an exploitation grinder like HUMAN EXPERIMENTS tried to talk him out of casting Haynes because she "wasn't glamorous enough." That's precisely why she's perfect for the role of a loner musician with no family or friends disappearing down the back roads of America, barely scraping by with pick-up gigs in shitty dive bars. You don't need to know what it is to know that she's running away from something, which, for better or worse, makes HUMAN EXPERIMENTS the perfect starring vehicle for Linda Haynes. The film was in and out of American drive-ins and grindhouses in a week, but it--or more specifically, Haynes--found some acclaim in Europe, where Haynes won the Best Actress award at the 1981 Sitges Film Festival in Spain, which focuses on the fantasy and horror genres. HUMAN EXPERIMENTS ended up being her penultimate big-screen project, as she would abruptly retire from acting in 1980 at just 33 after supporting roles in the Robert Redford prison drama BRUBAKER and the Emmy-winning miniseries GUYANA TRAGEDY: THE STORY OF JIM JONES.
A publicity shot of Linda Haynes
from the mid-1970s
She vanished without a trace until journalist and Haynes superfan Tom Graves began searching for her in the mid-1990s. He chronicled his quest in the piece "Blonde Shadow: The Brief Career and Mysterious Disappearance of Linda Haynes." She had no agent, no ties to the industry, left no personal or forwarding info with SAG and seemed to be off the grid by choice. After some time, Graves managed to get her phone number from an assistant of Quentin Tarantino's. Also a Haynes fan, Tarantino named his short-lived Miramax-owned cult distribution label Rolling Thunder Pictures after ROLLING THUNDER, and unsuccessfully attempted to lure Haynes out of retirement to play Sherry Stringfield's mother in a 1995 episode of ER that he was directing. Haynes turned him down--having been out of the industry for a decade and a half and with little interest in movies, she had no idea who Tarantino was and was completely unaware of the cultural impact of RESERVOIR DOGS and PULP FICTION. But the elusive actress consented to an interview with Graves, telling him that in the 15 years since her self-imposed exile, he and Tarantino were the only two who ever tracked her down to discuss her acting career. In Graves' interviews, Haynes revealed that she was developing a serious drinking problem around the time of HUMAN EXPERIMENTS and it was really becoming an issue while shooting GUYANA TRAGEDY. Her marriage was falling apart, she was growing increasingly depressed and having suicidal thoughts, and she decided she needed to get away and clear her head. After a stint in rehab and a divorce, she found that she lost interest in Hollywood and was afraid going back would perpetuate the cycle of alcoholism and depression once again. So she walked away. She moved to an isolated area of Vermont and, eventually to Miami, where most of her family resided. She went to college, got a degree, and began a new career as a legal aid. With the advent of the DVD revolution, Blu-ray bonus features, fan conventions, and social media, the now-70-year-old Haynes has found that her acting career, just a decade in duration, has not been forgotten. She remains one of the best actresses of her era who never quite made it (she's just perfect in ROLLING THUNDER), and even a scuzzy B-movie like HUMAN EXPERIMENTS, made at a time when her personal life was beginning a downward spiral, gives you a good look at what made Linda Haynes such a unique figure in '70s cinema.
