Arrow Films/Video has been in the home video business for years, but it wasn’t until 2015 that the UK-based label set up shop here in North America. The months since have already seen some must-own releases for genre fans including Brian Yuzna’s terrifically icky Society, Takashi Miike’s delightful The Happiness of the Katakuris, and near-forgotten slashers like Blood Rage and The Mutilator.
It’s their love for the near-forgotten that has led to their latest endeavor — the ambitious and important American Horror Project. The goal is to dig deep into American horror films with a focus on titles from the ’70s and ’80s that never quite caught on despite their merit. These are movies that saw limited, if any, theatrical release and met a similar fate on home video. Arrow’s plan is to treat them with the same love and respect they give to their higher-profile titles including the best possible restorations and the inclusion of numerous special features.
Vol. 1, in what I hope is going to be a long-running series, hits shelves today, and it is a thing of beauty. The three films — Malatesta’s Carnival of Blood, The Witch Who Came From the Sea, The Premonition — each have their individual strengths and weaknesses, but the box-set is a gorgeous ode to the many faces of horror. The smartly-designed slipcase holds all three films, each in their own case with reversible artwork, and a limited edition 60-page booklet collects stills and new writings on the films as well.
Keep reading for a look at the individual titles. (American Horror Project: Vol. 1 is available from Amazon.com)
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Malatesta’s Carnival of Blood (1973)
Vena and her parents have taken a job at a somewhat creepy carnival, but it’s not the carny lifestyle they’re after. No, they’re looking for Vena’s brother who they believe disappeared here a short time before. They’re not wrong, but they’ll wish they were. The mysterious man behind the carnival is also hosting a secret underground party populated with people who’ve dropped out of society and discovered an appreciation for avoiding the sun and eating human flesh.
Director Christopher Speeth’s only film is an odd and arty little chiller that succeeds despite its budgetary limitations and lack of narrative focus. It’s very dream-like (or nightmarish, take your pick) in its structure and appearance, and while the movie takes place in the real world it constantly feels like it exists on the edge of consciousness. There’s a Night of the Living Dead-vibe to the shambling horde beneath the carnival and the occasional member who goes trolling for flesh above ground, and it adds to the various moments of pure horror that punctuate the atmosphere.
That atmosphere is the film’s greatest strength, and while it’s due in part to the pacing and script much of the credit goes to the production design. The carnival grounds come to surreal life with sets designed to leave both characters and viewers unnerved and uncertain as to their surroundings. Vibrant colors, oddly-crafted props, and a menacing Hervé Villechaize just add to the mix.
Stephen Thrower, author of the brilliantly exhaustive Nightmare USA and co-curator of this collection, provides informative introductions to each film, but his one here is overflowing with caveats. He repeatedly warns viewers to check their expectations at the door in regard to narrative and plot, and while he’s not wrong it does feel a bit excessive. The film’s inclusion here is enough to indicate it’s lacking the elements required for mass appeal. Still, Thrower pairs those reservations with a clear affection for the movie — and it’s an affection I now share.
The 2k restoration has resulted in an impressive appearance for a film of this age and budget, but it’s still a film of this age and budget. Arrow’s disc includes the special features below, and the interviews offer plenty of background information on the film’s production. The highlight though is Richard Harland Smith’s commentary track which includes both anecdotes and trivia elements, both presented with a healthy sense of humor.
- The Secrets of Malatesta [14:06] – interview with director Christopher Speeth
- Crimson Speak [11:49] – interview with writer Werner Liepolt
- Malatesta’s Underground [10:10] – interview with art directors Richard Stange and Alan Johnson
- Outtakes [2:59]
- Gallery
- Audio Commentary with Richard Harland Smith – of the Movie Morlocks, official film blog of Turner Classic Movies
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