Slasher Sleaze

SCHIZO (1976)
THE COMEBACK (1978)

The Daily Mail described SCHIZO as "polished, pernicious cods wallop."

IN the 1970s, Pete Walker made a series of films more sophisticated than the exploitative titles implied. SCHIZO is an under appreciated slasher given added cult status by the fact that the leading lady is Lynne Frederick, who was married to Peter Sellers and died of substance abuse at the age of 39. The film opens with night shift worker William Haskin (Jack Watson) reading in a newspaper that ice-skating star Samantha Gray (Frederick) is to marry wealthy manufacturer Alan Falconer (has-been pop star John Leyton). Haskin starts to stalk Gray, who looks for reassurance to her psychiatrist Leonard Hawthorne (John Fraser), lover of her best friend Beth (Stephanie Beacham). Gray tells Hawthorne that when she was a young girl, she witnessed Haskin stab her mother during a lover's quarrel. After serving sentence he now is after Samantha; or is there a different connotation?

Walker has always heralded the twist ending as something fresh, but the climax is more of a contrived confirmation than a revelation. Screenwriter David McGillivray struggled to add meat to Walker's bones of a story - delivering a first draft allegedly only 42 pages long - and there is evidence here that the Walker-McGillivray partnership was going through the motions. Yet there are several effective shock sequences - death by hammer and knitting needle - and a roving camera and close-ups generate tension and menace. The casting of Watson is a big plus, an actor able to suggest a lot by doing very little, whose worn facade and controlled stares makes his character genuinely unsettling. As Steve Chibnall points out in Making Mischief: The Cult Films of Pete Walker, the main difference with SCHIZO when compared to the film maker's more famous canon of work - HOUSE OF WHIPCORD, FRIGHTMARE et al - is that previously Walker explored contrasts between aged killers and youth culture; here we have the victimisation of common man.

Redemption's remastered US import Blu-ray of THE COMEBACK, released in February.

Quitting school at 15, Frederick appeared in a number of supporting roles in the early 1970s, including Dora Mueller in VAMPIRE CIRCUS. As Julian Upton acutely states in Fallen Stars: Tragic Lives and Lost Careers, the actress "went from appearing in SCHIZO to marrying one" when she tied the knot with Sellers. Within weeks, Frederick's emotional destruction began, amid violent attacks, the actor's increasing heart problems, and Sellers' plummeting box office appeal. After Sellers' death, his widow binged on drink and drugs; in his hastily revised will, Frederick was left almost everything, while his three children were left an insultingly token sum. Frederick subsequently married David Frost then LA heart specialist Barry Unger, filling the Unger marital home with photographs of Sellers and even devoting a room to his memory. Sellers biographer Roger Lewis describes Lynne as Seller's "supernatural double or fellow lost soul; except she acquired his insanities without the compensations of his genius."

Walker followed SCHIZO with THE COMEBACK, and in an attempt to appeal to an American market in the wake of the crippled British film industry, the most conventional. Gone are the low-key locale of Walker's earlier triumphs; now the viewer sees locations for the rich and famous. Reuniting the director with the scriptwriter of DIE SCREAMING, MARIANNE, Murray Smith, the picture sees crooner Jack Jones cast as Nick Cooper, a faded singer returning to England from the US to make a comeback album. His ex-wife has been murdered in their docklands penthouse, a fact unknown to him as he is staying in a mansion maintained by Mr and Mrs B (Bill Owen and Sheila Keith). Increasingly disturbed by nocturnal sounds, and driven to a breakdown by the discovery of a rotting corpse then a head in a hatbox, Cooper discovers that Mr and Mrs B are exacting revenge for the suicide of their daughter, an obsessive fan who could not accept his marriage. Both psychological thriller and violent mystery, THE COMEBACK never quite gels, but Walker manages a memorable conclusion when our nominal hero confronts the dastardly duo.

The Circus of Nights

VAMPIRE CIRCUS (1971)

Bald, naked and coated in body paint, Serena is the Tiger Woman.

AS Hammer entered its wilderness years, Robert Young's VAMPIRE CIRCUS rediscovers the studio's vigour. Picking up the gauntlet thrown down by TWINS OF EVIL, this offering pushes Hammer further into the softcore sex and copious bloodletting required to maintain interest amongst pictures made outside of Elstree. Despite the film being Young's first picture, and the inevitable delays resulting from the extensive use of animals, Michael Carreras pulled the plug on the unfinished production when it had reached the end of its six-week shoot. The footage was subsequently spliced together, creating a Euro-horroresque charm of its own.

Opening with a twelve minute prologue which plays like a featurette, in 1810, vampire Count Mitterhaus (Robert Tayman) and his mistress Anna Mueller (Domini Blythe) are apparently destroyed by the villagers of Schtettel. Fifteen years later the village is riven with plague and quarantined, and The Circus of Nights, led by an enigmatic gypsy woman (Adrienne Corri), arrive to entertain the villagers nightly with a Tiger Woman (Serena), a Panther Man (Anthony Corlan), twin acrobats Heinrich (Robin Sachs) and Helga (Lalla Ward), and a clown dwarf (Skip Martin). In fact the troupe are undead, shape-shifting relatives of Mitterhaus, who seduce and procure the blood of the local young to resurrect him.

Written by Steve Parkhouse and illustrated by Brian Bolland, VAMPIRE CIRCUS was adapted into comics for The House of Hammer #17 (Feb 1978).

The Circus of Nights ("A hundred delights!") is one of the most subversive takes on the essential innocence of the carnival ethos. The villagers gasp in amazement at the antics of the troupe, and even though the performers change into bats and black panthers before their eyes, they take a remarkably long time to react to their visitors true nature. The villagers are portrayed as generally deserving of the various fates that the vengeful vampires see fit to bestow upon them. The undead are predominantly young, talented and sexy, whereas the town folk are sexually repressed, middle-aged, unattractive and riddled with fears and prejudices. When Anna watches her lover feed from the throat of a young girl in the prologue, watching in voyeuristic ecstasy in a prelude to making love with Mitterhaus, there is no question that she is truly liberated.

VAMPIRE CIRCUS is one of the few British horror films to understand the difference between nudity and eroticism. Not only does it break the taboo of unleashing violence to young children - a scene where two boys are lured to The Mirror of Life is particularly uncomfortable - it dares to be homoerotic, suggestively bestial and incestuous. Because of such lurid material the film has gone unappreciated, but this may be underscored by the lack of a name horror star. Laurence Payne's world-weary schoolmaster, the central heroic figure, only receives sixth billing in a large cast which includes David Prowse unsurprisingly as the circus strongman, Thorley Walters as the bumbling Burgomeister, John Moulder-Brown as the most unconvincing romantic lead in the whole Hammer canon, and Lynne Frederick as Dora.