United States 1973.
Reviewed By-Kit Gavin Directed by: S.F. Brownrigg Starring Rosie Holotik, Annabelle Weenick, Gene Ross, Bill McGhee Released through: VCI Home Video Region 0 NTSC
After the bloody murder of the doctor in charge of an isolated mental institution in Greenpark, Florida, an attractive young nurse, Charlotte Beale, arrives in order to take up duties having been hired by the aforementioned doctor, Dr Stephens. However Dr Stephens’ replacement, Dr. Geraldine Masters, is less than satisfied with this new arrival at the clinic. However, unwillingly, she accepts the nurse out of necessity, into the ranks, informing her that she has to accept the regime within the clinic though; i.e. that of a big family atmosphere where no doors are locked and patients are allowed to roam free as part of their treatment. Wide-eyed and enthusiastic about her new job, the pretty naVve Miss Beale explores the clinic and meets the patients, which populate the home. She meets Mrs. Callingham, an elderly patient (who’s words act disorientating coda to the film), warning her about the danger of the place. As the film progresses, the atmosphere becomes more and more oppressive and frightening for the new hired hand, with patients attacking her, or threatening her life. Still later, there follows a further murder of a telephone repairman takes place and Charlotte starts to realize that not all within is as it seems, leading to her fight for her life and a gruesome bloody and tragic finale.
Cast in the lead role as the nurse, Charlotte, flung into this maelstrom of insanity is the endearing cute Rosie Holotik, a Texan actress, who went on to marry Dallas Cowboy Charlie Waters, find God, and nowadays works as a real estate agent in Dallas. Holotik looks pretty throughout the film and plays her character well and is endearing and sympathetic in the part. Cast opposite her is veteran actress, the late Annabelle Weenick, as Doctor Masters, who delivers a good is she, isn’t she unbalanced performance throughout. Her delivery and her expressions add to the feel of the piece. Supporting oddball players provide well delivered roles, Bill McGhee as Sam, a lobotomy case with an obsession for Popsicles, together with a nymphomaniac, a woman obsessed with believing her doll is her baby and a frenzied judge played by Brownrigg regular Gene Ross.
Part of what makes the film, without a doubt is it’s feeling of claustrophobia and the sense of being trapped throughout. The film was quite clearly shot on a miniscule budget, and no doubt quite quickly as it all takes place within one location, that of a big sparsely decorated house and the grounds surrounding it. The patients, under the therapy of Dr. Stephens, are allowed to roam free through the house and grounds, and this treatment, rather than encouraging the patients to be made well and adjust into society seems to do the exact opposite. Dr. Stephens is killed within the opening few moments of the fill and all hell breaks loose until the films conclusion. The film has, understandably attained something of a cult following over the years, it’s companion piece from the drive-in days, The Last House on the Left, also produced by Hallmark, went on to be a cult classic. It also made a minor star out of David Hess, and even have a book written about it. Yet Don’t Look in the Basement has been largely neglected over the years, even though it was shown and played at theaters around the world.
There are some moments herein are truly unsettling. From the childish innocence of Sam and his Popsicles, the sadistic glee in which one of the patients is admonished for his actions, Charlotte awakening with the Judge who has crept into her room, threatening to decapitate her with an ax. Even the sheer nastiness of an old woman, Mrs. Callingham, quoting Faeries by William Allingham – later has her tongue cut out for saying perhaps too much. The theme of mental clinics and the unhinged mind seems to not have been a popular one. The Italians had explored the theme in SLAUGHTER HOTEL, two years previously, where again the clinic with it’s own selection of oddball patients allowed them to roam free, with a variety of mediaeval weaponry (such as maces and crossbows!) adorned the walls. This claustrophobic theme within a loony bin was later picked up later in fare such as MADHOUSE/THERE ONCE WAS A LITTLE GIRL and even formed part of the themes of one of the Friday 13th franchise, being central to that of Part V. Despite the theme being unpopular at the time, mainly because no rip-offs and off shoots followed in it’s wake, one of the most successful films in terms of Oscars followed shortly after, two years later, with ONE FLEW OVER THE CUCKOO’S NEST, in 1975.
What is often criticized about the film is the cheapness and the pacing. The cheapness and low budget production values cannot be helped, such was the budget behind the film, and it is important to remember the substantial difference between American film making and, as an example, Italian film making (who often were able to make more polished products for the same sort of price). In Italy, actors and technicians often sought the incentive and need to work, therefore crew members, fresh from working on the set of a big budget expensive film would go from that to a smaller more modestly budgeted film. But this did not detract from their professionalism and every film was made with the skills of its cast and crew regardless of budget. This was and is not the case with low budget Americana. So it is totally unfair to compare the filmmaker Brownrigg to someone like Bava or Argento. Much like comparing Jess Franco to Alfred Hitchcock, it is unreasonable and foolhardy to do so. The film also lacks special effects but this is not necessary and what there is in bloody gore actually suffices.
To be fair and honest, the pacing of the film is not the best, it does tend to drag it’s heels at times, after a shocking opening sequence, some character development and then the final frenzied 20 minutes leading to an unexpected climax. But despite this apparent dragging, where the is much talking and seemingly not much in means of action, I feel that this adds to the film, it adds elements to the characters, and to the ensuing insanity ahead. Admittedly too, The script is not the best, yet it is suitably deranged at times, with some quotable fun lines thrown ("I do taste like strawberries!!") There are a few moments to keep the horror fan happy – such as when an elderly patient has her tongue cut out, and the finale is sufficiently nasty and very bloody (even if the effects are crude yet effective), etc. But the middle of the film develops characters and personalities, and though at times sluggish, provides sufficient character development and analysis to make the finale more staggering and sad. Politically correct viewers might be offended by some of the portrayals by the characters, but this film was not intended for the PC viewer nor was t created at a time when PC was rife as it is today.
Over the years the film has been panned, criticized and denounced – mainly for it’s low budget trashy origins and for it’s portrayal of the mentally ill, which not surprisingly, many have found and considered to be unsympathetic and offensive. So what!!! Why should a horror film that deals with murder, etc pussyfoot around an audience, as we are not dealing with sensitive themes here. And the film deals quite well with its controversial theme of insanity, without making characters seem laughable, but rather more sad and pathetic in their futile lives. What is most unfair is the harsh treatment that it has received over the years, as it is undeniably an endearing little "trash B-movie" gem. And acting, something which is often neglected in low budget cheapo films here, is uniformly good throughout.
VCI have presented the film in full frame, yet from the inserted title card in the opening credits (which presumably replaced the original title of The Forgotten), it looks as if the film was not shot in scope but in 1:66:1. Therefore, the film is missing some information from the sides, but in fact this loss doesn’t seem to have actually harmed the viewing pleasure of the film. It could be better of course, but… Also for those viewers accustomed to extensively bright vibrant cleaned up prints, devoid of scratches and freshly struck from the original elements, are going to be sorely disappointed by the VCI release. The film has scratches from time to time, and print damage is evident at points. Also the film was shot, no doubt, on cheap film stock, and on 16mm film. Also the picture quality is somewhat soft, yet clear, and the soundtrack is mono. But, much like old film posters can develop character from having folds in them, the same is true of the presentation of this film. It is unlikely that was ever, even in its drive in heyday, any much different from the print present here. Also the soundtrack doesn’t need to be presented in 5:1 stereo to be enjoyed and it’s original mono is more than adequate, despite the occasional hiss at times. The film does show it’s low budget origins and at times, as the camera can be heard. This, however only adds to the low budget charm of the film. The film is very talky for the most part, playing somewhat like a crude stageplay, and there is very little background music, again, not that it is needed in order to derive suspense, enough of that comes from the momentum that builds up gradually.
Sadly VCI haven’t really seen fit to include much in terms of the main feature related extras, choosing to include some unexceptionally penned bio notes and some unrelated trailers for (then) forthcoming VCI releases on DVD. Despite these shortcomings, for anyone who is a fan of low budget US exploitation, this film is definitely one to have on the shelf. A good friend of mine (thanks Casey!), introduced me to this film some years ago and I am really grateful that he did, for it opened my eyes to the whole drive-in circuit of American movies. Although the film is not a classic in the orthodox sense of the word, for me it is actually quite rich and multi layered. Unlike the more successful and shocking films (like Last House) in the genre, it is one of those films you can actually come back to and enjoy a repeated viewing, thanks to the atmosphere, the quirkiness and even the splattery schlocky feel. I dearly it would be nice to see it released with extras, maybe interview with Holotik and other cast members, as sadly S.F. Brownrigg is no longer with us. Maybe even a gallery of behind the scenes stills, better bios, a reproduction of pressbook, etc. But for now, the VCI disc is the only way to view this overlooked and under rated little movie. Seek it out if you can.
Story: 3.5 BITCH SLAPS Extras: 1 BITCH SLAP
Picture/Audio: 2.5 BITCH SLAPS
Overall DVD: 3 BITCH SLAPSDiscuss this DVD or film in our forum.
