The DPP 39: Video Nasties List - Part 9

In 1984, the Video Recordings Act ushered in a terrifying new era in UK home video entertainment. The regulation and subsequent censorship of home videos by the British Board of Film Classification led to a number of films being seized by the authorities and prosecuted under the Obscene Publications Act 1959. In total, 39 of these films were successfully prosecuted, over the coming months The Horror Video will look very briefly at the release history of each film and its current status. To view the rest of the series…

Part 1: ‘Absurd’, ‘Anthropophagus’ and ‘Axe’, click here
Part 2: ‘Bay of Blood’, ‘The Beast in Heat’ and ‘Blood Feast’, click here
Part 3: ‘Blood Rites’, ‘Bloody Moon’ and ‘The Burning’, click here
Part 4: ‘Cannibal Apocalypse’, ‘Cannibal Ferox’ and ‘Cannibal Holocaust’, click here
Part 5: ‘The Cannibal Man’, ‘The Devil Hunter’ and ‘Don’t Go in the Woods’ click here
Part 6: ‘The Driller Killer’, ‘Evilspeak’ and ‘Expose’. Click here
Part 7: ‘Faces of Death’, ‘Fight for Your Life’, ‘Flesh for Frankenstein’, click here
Part 8: ‘Forest of Fear’, ‘The Gestapo’s Last Orgy’ and ‘The House by the Cemetery’, click here

Title: ‘House on the Edge of the Park’ (1980)

Director: Ruggero Deodato
Uncut running time: 91 minutes
Alternative titles: ‘La Casa Speruta Nel Parco’, ‘La Casa al Confini del Parco’, ‘Der Schlitzer’

Deodato certainly knows how to cheese off the censors, this is another fairly graphic and controversial film featuring rape, torture and extreme violence. Even Deodato himself thought that the script was too violent (this was the man who made ‘Cannibal Holocaust’!) and it was perhaps inevitable that it’d end up on the UK banned list.

Essentially it’s a home invasion film where a couple of killers (who indulge in a bit of rape on the side) are invited to a party by a group of rich people who they end up helping out of a spot of car trouble. Of course it turns nasty when they make fun of their eventual assailants and, much like another film starring David Hess, ‘The Last House on the Left’, the tables are turned by their victims. It does have a decent twist in the tale at the end, albeit a little convoluted and I’m not sure it really justifies the film itself which is pretty nasty at times. That said, Deodato knows how to shoot a film and as long as you can put up with the violence, which is sexual at times and not easy to take, then it’s on the better side of the 39 films on the original DPP list.

Needless to say it was the sexual violence that got this into trouble more than anything else and it was refused even a cinema certificate in the early 80s in the UK. It’s a sign of the unregulated times that Skyline managed to put out an uncut version on VHS in October 1982, less than a year later it was successfully prosecuted and banned in July 1983. It remained unavailable until VIPCO, rather pointlessly, release a version that was missing a ridiculous 11m43s, mainly from the strong rape scenes and moments of sexual violence, this was in 2002. Shameless did a lot better, missing 43 seconds which was pretty much exclusively reserved for razors being used suggestively and intimately up and down the female form. We may one day see an uncut version, if someone can be bothered to release it, but for now the version we have isn’t at all bad.

Current status: unavailable in the UK on Shameless DVD, cut by 43 seconds, available uncut on region free Code Red in the US.

Title: ‘I Spit on Your Grave’ (1981)

Director: Meir Zarchi
Uncut running time: 94 minutes
Alternative titles: ‘Day of the Woman’, ‘I Hate Your Guts’, ‘The Rape and Revenge of Jennifer Hill’


To describe this film as divisive would be an understatement with people calling it both feminist and exploitative of women in equal measure. There’s no right or wrong answer in that and I’m sure we all know the simple plot which is essentially a rape revenge film where the female victim turns the tables on her attackers. It’s monumentally brutal in its depiction of rape and incredibly difficult to watch, in fact you feel that you need to take a shower afterwards.

It’s clearly low budget and that grittiness just adds to the feeling of shock and Camille Keaton as Jennifer is astonishingly convincing. You are firmly on her side when she exacts her terrifying and brutal revenge and, from my perspective, you certainly aren’t invited to revel and enjoy the horrors that those ‘men’ inflict upon her. The writers and filmmakers make it easy for us by portraying the gang as one dimensional and pure evil, would it have been more challenging had we been given more characterisation? Their actions cause us to want to see them punished so there is a case for calling the filmmakers out for expecting us to revel and enjoy castration, decapitation and basic murder…even if it is an act of revenge. It’s a challenging film and one that asks a number of questions of the audience who, on first viewing (many may never watch it again), are likely to be too traumatised to want to think about.

The film landed itself in serious trouble with the BBFC after Wizard put out the uncut version in January 1982 and then again by Astra shortly after. By July 1983 it had been seized and successfully prosecuted, not seeing any further release until 2001 when it was brought out again on VHS by Screen Entertainment. More than seven minutes were removed, interestingly all from the rape scenes with none of the moments of revenge tinkered with.

In 2006 Screen Entertainment tried again with a version they claimed was uncut, before the BBFC removed 41 seconds. In reality what they had done is reframe some of the scenes in line with previous cuts. This had a very bizarre effect by diluting the rape scenes so much that the moments of revenge suddenly seemed a little over the top! Finally 101 Films put forward a genuinely uncut version in 2010 which suffered from 2m54s of cuts, again to the stronger elements of the rape scenes, entirely removing the rape over the rock and any exploitative emphasis that the rapists were enjoying it. I can’t see an uncut version ever being released in the UK

Current status: Available on DVD and blu-ray on 101 Films, cut by 2m54s in the UK, available uncut in the US on Anchor Bay.

Title: Island of Death (1972)

Director: Nico Mastorakis
Uncut running time: 108 minutes
Alternative title: ‘A Craving for Lust’, ‘Devils in Mykonos’, ‘Psychic Killer 2’, ‘Island of Perversion’, ‘Cruel Destination’


Hell’s Bells this is a seriously nasty film! A couple (Christopher and Celia) leave London, seemingly intent on ridding the island of Mykonos of anything they believe is perverse or unnatural and nothing is off the table. An artist is crucified and has paint poured down his throat, a policeman is hanged from his own plane, Christopher urinates on another woman before beating her half to death and decapitating her with a JCB…oh, and he also rapes a goat! It seems as if the filmmakers sole intention was to cram as much depravity and exploitatively violent scenes as possible into one film and pretty much succeeded. The twist in the tale is that the couple were brother and sister so the whole thing was driven by incestuous desires…of course it was!

All of the above may sound like a certain amount of fun but it really isn’t. It’s not particularly well made, save for a shot or two using a fish-eye lens involving a mysterious figure who haunts Celia’s dreams. Of course he turns out to be very real and is also a murderous rapist. If the intention was to make a purely exploitative film then it’s a resounding success!

The film was absolutely hammered by the BBFC who removed just over 13 minutes for its original cinema release (as ‘A Craving for Lust’) in 1976 before reverting back to its original title for an uncut VHS release by AVI. It was banned in November 1983 but, possibly due to confusion with a similarly titled Narcisco Ibanez Serrador film, was removed (but not released) from the list only to be reinstated in October 1985. It was refused a video certificate again under the name ‘Psychic Killer 2’ (it’s worth noting that this was a heavily cut version which shows the extreme nature of the material) before being released with 4m09s of cuts by VIPCO in the early 00s. Incredibly Arrow got it past the BBFC completely uncut in 2010 and it’s even been shown without cuts on the UK Horror Channel. How times have changed!

Current status: Uncut in the UK and US on Arrow Video.

Intruder (1989)

Tagline: ‘A new dimension in terror’
Running Time: 88 minutes (uncut version)

Film Quality: 4/5
Gore Content: 4/5
Entertainment Value: 4.5/5
Originality: 4/5

Introduction

Director Scott Spiegel was looking for a directorial project and rediscovered one of his early Super 8 movies filmed when he was a teenage called ‘Night Crew’. Realising that the horror genre was a relatively easy one within which low budget film makers could make a name for themselves and having already achieved success as a writer and producer in the ‘Evil Dead’ series, he gathered up some of the old gang to tread over familiar ground. With a great deal of unrealised talent within the cast and crew they produced one of the most overlooked and original slasher movies to grace the 80s and forever changed the landscape of cinema history.

In a nutshell

The owners of a small convenience store sell up and decide to close down, resulting in the night crew asked to stay behind to ‘slash prices’ in anticipation of a stock clearance. They get a slashing of a different kind as a maniacal killer is trapped inside with them, picking them off one by one. But who is he and will any of them get out alive?

What’s good about it?

By 1989 we thought we’d seen it all in the slasher genre but Scott Spiegel manages to bring something fresh and appealing to the table here. Many of the tropes are there (bunch of kids stalked by an unseen killer at night, all in one place) but there’s something a little more believable and commonplace about it. For a start they all have a reason for being in this ‘terrible place’ and a reason for splitting up…it’s their job and they are where they’re supposed to be. None of the teenagers are irritating or unlikeable, there’s no gratuitous nudity or sex, no forced moral message, no masked killer, legend or folk tale upon which to suspect that there is anything out of the ordinary. It’s just a regular nightshift where something extraordinary happens which gives it an everyday feel.

The kills, on the whole, are wonderfully over the top with lots of the red stuff. We have eyes gouged out on letter pins, heads splattered in hydraulic crushers and in the standout scene, a head cut in half from cheek to cheek (left). It’s presented in graphic close up and we see a lot of the aftermath as well with blood spurting off screen. For such a low budget film the effects really are quite remarkable and it’s no surprise that the make-up effects were provided by Greg Nicotero, Howard Berger and Robert Kurtzman who went on to become the world renowned KNB EFX crew. This was Nicotero’s first supervisory role and allowed him to set up KNB as a company, so this is where it all started!

There is a thick vein of very dark humour running throughout ‘Intruder’ and some wonderful dialogue, especially Dan Hicks’ tremendous twice told monologue about a fireman, ‘here comes f’cking Parker, walking down nine miles, swinging the head by the hair in one hand and his sandwich in the other’. Some of the visual gags as well are great, one of the kids is sawn in half and found dumped in a bin with a sign around his head that proudly claims to have ‘Half Off’. Once again, it raises the film above your average slasher by not taking itself too seriously but not sending itself up either. It’s a very fine line to walk and this film treads it almost perfectly.

The production crew proved to be highly resourceful, finding a genuine store that had actually closed down which they could use for virtually nothing and intercepting stock set for landfill to line the shelves. This film cost just $130,000 but looks superb in terms of production values and authenticity. It’s also got some decent acting chops, including Renee Estevez (Martin Sheen’s daughter), an ‘Evil Dead 2’ reunion for the brilliant Dan Hicks, Sam and Ted Raimi and a brief appearance by Bruce Campbell. Hicks in particular is having a ball in the limelight and turns in a wonderfully maniacal performance.

What about the bad?

Coming at the end of the slasher movie craze and WAY past its golden era it suffered horribly through bad timing. Never mind that it did something fresh and original with the format, people were tired of the genre so it fell by the wayside and has only very recently been reappraised and appreciated for the impressive film that it is. It’s also never been given the credit for launching a huge array of talent but more about that later.

Any themes?

‘Dawn of the Dead’ used its mall setting to make a comment on consumerism and whilst I don’t think there were many delusions of grandeur on the part of the filmmakers here I like the way that it places itself right in the middle of small town America in a minimart that’s closing down. At a time when small towns and businesses were being squeezed out by big business and huge supermarkets, here’s a story about the little guy fighting back. There’s a bit of a spoiler alert here but Hicks’ character Bill is being forced to sell up against his will by his former friends and majority stakeholder Danny. He put everything into that store and was being forced to watch it being torn apart brick by brick in the interests of money and development. It sends him over the edge and, as he so eloquently puts it “got a little carried away”’

His workforce are disposable, Danny doesn’t care about them, reflecting big business attitudes towards its own workforce…very relatable in today’s society. So whilst middle America was being left to fend to itself in the marketplace, so were Danny’s workforce, offered little protection against the relentless violence, or ‘power’, of the system.

Release history

One of the film’s major selling points, the notorious gore set pieces, were almost completely shorn by the MPAA which must have been absolutely gut wrenching for the FX teams involved. So much work had gone into creating some impressively gruesome effects that, initially, nobody got to see. The cuts were drastic and rendered some scenes almost nonsensical which certainly didn’t help the flow of the film. Add to that the fact that the killer’s identity, and ultimately the surprise ending, was revealed on the box art to many of the VHS tapes released…way to go!

In the UK, the full uncut version was submitted to the BBFC, needless to say it fared pretty poorly and seven seconds short of two minutes was hacked out of it to give us a version not too dissimilar to the US version. It was more complete, made more sense and, to be fair, it was still pretty gruesome. It also had a brightly coloured, yellow sticker on it emblazoned with the words ‘New Version’ but even in the pre-Internet days it was clear that something quite special was missing.

Thankfully, with the advent of blu-ray and the existence of a fabled ‘director’s cut’ containing untold gory treasures, it enjoyed a serious resurgence in the days of the shiny disc. Both the UK and US now have wonderfully restored versions available and in the US, a limited release of a workprint version which contains EVEN MORE GORE with some of the scenes extended, though not remastered and without sound. These extended scenes are available as special features within the standard releases.

Cultural Impact

I wasn’t kidding when I said it launched some major talent. We’ve already touched on the advent of Greg Nicotero’s KNB FX company and Sam Raimi going on to direct Hollywood blockbusters but they weren’t the only ones.

Renee Estevez (left, in a neat little in-joke camera trick!) went on to appear in 44 episodes of ‘The West Wing’, Craig Stark has continued to act to this day and most recently appeared in Tarantino’s ‘The Hateful Eight’, Burr Steer has turned to directing including the reasonably successful ‘Pride and Prejudice and Zombies’ whilst cinematographer Fernando Arguelles has had a prolific career in movies and TV with credits including ‘Grimm’, ‘Prison Break’, ‘Hemlock Grove’ and ‘Breakout Kings’.

But most notably writer and director Scott Spiegel introduced co-writer Lawrence Bender to an enthusiastic movie geek by the name of Quentin Tarantino. The two collaborated on a little independent feature called ‘Reservoir Dogs’, produced by Bender, and forever changed the history of film. Bender’s CV is just incredible, including executive producer of the recent Oscar winning ‘Hacksaw Ridge’ and the announced third instalment of ‘Kill Bill, not to mention his frequent collaborations with Tarantino that ended with ‘Inglorious Basterds’.

There was a huge amount of talent working on this film that it’s no surprise it stands out from the crowd and it’s great to see so many of the crew breaking out and making a success of themselves.

Our resourceful 'final girl' surrounded by carnage

Final Thoughts

A very smart, witty and gruesome slasher that was cruelly overlooked at the time but seems to have secured a new lease of life on blu-ray and re-appreciation. It comes across as unique and unusual and the fact that so many of the crew came out of it and have established themselves as leaders in their field shows that the film comes from good stock. I have a lot of time for this film and always thoroughly enjoy watching it…if you think you’ve seen it all within the slasher movie genre then give this a go, it’s fresh, original and a blast!

Memorable quotes:

Bill: “I’m jus’ crazy ‘bout this store.”

Bub: “If my brother hadn’t hit him repeatedly with a blender, he would’ve killed me.”
Linda: “A blender?”
Bub: “Yeah…a Hamilton Beach Blender.”

Bill: “Here comes f@cking Parker, walking down nine miles, swinging the goddamn head by the hair in one hand and his sandwich in the other…”

You’ll like this if you enjoyed…

‘Stagefright’, ‘April Fool’s Day’, ‘Scream’