All language subtitles for VIDEO NASTIES THE DEFINITIVE GUIDE VOLUME 1 DISK2_Part2

No! This film will introduce you to a
world where the bizarre is not uncommon

and the normal seems out of place.

study of death been revealed to the
motion picture audience an exploration

a bloody world where violence creates an
image not soon to be forgotten

You have never thought about death.

It's time you started thinking.

Bases of Death.

Now a major motion picture.

According to the cover here, you can
look forward to merciless beatings,

killings and multiple rape and
unprintable happenings.

I wonder what they meant by that. I
suspect that what they're driving at is

fact that the really shocking element in
Fight For Your Life is the language.

And it's kind of unique amongst the
video nasties in that the really

element that prevents it, I believe,
from being released officially in this

country even now is verbal, not
visceral.

It's verbal violence, specifically
racial slurs and racial attacks, verbal

attacks.

The story is about a gang of reprobates
who escape from prison and hide out in

the house of this extremely virtuous
black family where the father is the

pastor, extended family, all very
virtuous Christian, God -fearing people.

Louise? Do we have company?

You better believe it, bird. Now get
your ass in here.

The leader of the criminal gang, played
by William Sanderson, who's an actor

that gained attention a couple of years
later for a role in Blade Runner. He's a

very respected character actor.

He's, in the film, playing an intensely
racist, hostile, aggressive, racist

character who lets loose a stream of
racial epithets and slurs and

attacks. It's the kind of film...

where you are made extremely
uncomfortable by the way that the

speaking to, you know, the black
characters. And it's led certain people

think, misread the film as a racist
film. It's one of those situations

you know, because you're depicting a
racist character, there's a fear amongst

people watching the film that you might
be dealing with a racist director, a

racist kind of writer, the whole, you
know, tainted by association with the

character in the film. The whole film
gets treated as a racist film.

No, it's not. I don't believe it is a
racist film. It's an exploitation film

that is willing to go the extra mile to
be shocking and outrageous.

But if anything, it's more like a Black
Panther recruiting film than a KKK

party favourite.

The theme of the film is that this black
family who are trying to be dignified

and Christian and turn the other cheek.

are faced with mounting provocation
throughout the film until eventually

they finally do crack and enact their
vengeance on these interlopers these

attackers you've been waiting for about
an hour for this to happen until

eventually it's almost sadomasochistic
and it's kind of in the tension that's

created you know they're victimized for
so long and they're given so much verbal

abuse that when they finally do when the
worm turns you know the film is all

about the moment when the black family
fight back

Don't move or I'll blow your balls off.

You ain't even big enough to cover.

And in that respect, it's a film which
is intended, as much as anything else,

play very, very positively to a black
audience in, say, blue -collar areas of

New York and Chicago, where you'd get a
sizeable black audience.

And it's playing to the gallery, to the
black gallery, I think.

It's a film that's out there saying, you
know...

don't take any shit from Whitey. It's
not actually kind of saying, it's not

siding with the sentiments expressed by
its obnoxiously character.

The writer of the film, Straw Weissman,
said that he specifically wanted to make

a story about the turn -the -other
-cheek argument not holding water, that

said as a Jewish man, as a child brought
up in a Jewish family, one of the

things that had always troubled him when
his family talked to him about the

Holocaust

Why didn't they fight back? Why didn't
they fight back? So in his story, he's

feeding some of that in. Invased with
the terror of brutal killers, every cop,

every man knows that surrender is
impossible. You must fight for your

Essentially a fairly sustained attack on
the way that it seems to be saying that

the way that black communities in
America have embraced evangelical

is holding them back and that it's a
negative force, that it's depriving them

their true voice.

that the whole turn -the -other -cheek
argument and the Christian forgiveness

and everything is not something that you
can really kind of... that you could

understand them ditching the idea.

There's a particular key scene where the
William Sanderson character beats the

father, who's a pastor at a local
church, beats the father around the head

a Bible.

And they speeded the film up for that
moment, so it's done... It's got a

kind of almost like...

surrealistic quality because suddenly
it's, you know, extra violent. The film

technique has been used to make it feel
more violent as well.

And, you know, the impression that you
get from that is that it's just saying,

look, you know, this book is holding you
good people down.

A story filled with unbelievable action,
a movie of excruciating violence, a

saga of extraordinary courage that will
leave you cheering.

The producer of Fight For Your Life was
this guy called William Miskin.

And Mishkin was Andy Milligan's producer
and was fabled in the exploitation

industry for being a cheapskate to the
nth degree. He was notorious for being a

penny pincher.

One of the best examples that Robert
Endelson, the director of this,

was that the grandmother in the film is
in a wheelchair.

And Endelson contacted Mishkin and said,
oh, we need to buy a wheelchair. I need

to get hold of a wheelchair.

Mishkin... dropped in at the set with a
wheelchair, which was his wife's

wheelchair. His wife was disabled.

He said, here, use this one.

And so for the three or four days that
they were shooting with the grandmother,

Mishkin's wife was laid up in bed,
unable to move or go anywhere, whilst

used his wife's wheelchair for the
movie.

So that gives you some idea of the
lengths William Mishkin was prepared to

save a few dollars.

We are a nation wracked with violent
crime.

You are about to see a small sample of
an extraordinary gut -crunching film

vividly portrays the most sadistic of
these criminals.

That's your baby?

That's right.

Shame to make her an orphan.

Just do like you're told.

Ain't nobody gonna get hurt.

together and shake up the hand.

It's done.

We're blood brothers.

Mind if we come in?

Who are you? What is this all about?

Jesse King, ma 'am, and I'll ask the
questions. You understand?

Hey, Joey.

How are you, man?

Where the hell you been?

Louise?

Do we have company?

Now, you better believe it, bear head.
Now, get your ass in here.

Well, I kind of decided not to come out,
so I'll see you later, huh? Now, let's

go get some grub, y 'all. Get this!

a lesson they won't forget.

No guts, no nerve.

You might have it big between the legs,
but you ain't got no balls.

Invased with the terror of brutal
killers, every cop, every man knows that

surrender is impossible.

You must fight for your life.

All right, no more killing.

Throw the gun out the window, and then
you come out.

This is your last chance.

A story filled with unbelievable action.
A movie of excruciating violence.

A saga of extraordinary courage that
will leave you cheering.

Fight for your life.

Experience it soon here.

Well, we've got Forest of Fear here,
which is 1979, directed by Chuck McCran.

I think this is only credit.

In America, it was released as Blood
Eaters. I think the trailer that you'll

is under that title.

Nothing will protect you from the terror
of the Blood Eaters. See Blood Eaters.

In its presentation on British VHS, it's
a bit of an unglamorous effort, really,

to say the least.

For some reason, the images are mounted
on grass paper, which is a puzzle. You

can only assume that the person who put
this together was like the 15 -year

-old... son of the video company owner
who was given it as a project to do at

school or something, you know, that's
really strange.

Yeah, the only ever video cover was
mounted on graph paper, and it's an idea

that Peter Greenaway ought to have
considered really, isn't it? I thought

would have been more his style.

They are coming, hunting, searching out
for ice cray.

It's a zombie film.

It's a zombie film from a good period,
late 70s, shot in Pennsylvania.

just down the road from George Romero's
set -up. I believe they actually had

some of Romero's technical crew involved
in the making of the film.

It has a bit -part role for John
Ampliss, who plays Martin in the Romero

Martin, which, frankly, I think is just
one of the best horror movies, period,

ever. You know, just incredible.

And the fact that he's playing like a
second fiddle role, not second fiddle,

like fifth fiddle role, you know,
playing a...

a cop sidekick in this is just like talk
about squandering resources you know

this guy played martin in one of the
best performances ever to grace a horror

film and there he is playing some dumb
hit role it's just ridiculous the most

the violence that you see is kind of
aftermath it's usually you know

attacked and then it cuts back a bit
later and you see them on the floor with

their guts hanging out on the floor and
that's That's nice, but you don't see it

actually happen. It'd be nicer if you
actually saw it happen in real time.

So there's a lot of aftermath shots.

Nothing will prepare you for the power
of these butchers of the dam.

And the zombie make -ups are kind of
fun, but not...

as elaborate as you might hope, and it's
certainly thematically got nothing very

important going on in it.

The main theme seems to be to do with
environmental pollution.

The plot tries to finger the man for
poisoning the environment with

illegal fertilisers or some chemicals to
spray on.

Marijuana crops and one of the other
titles that came out under as well as

bloody tears I think it came out in
America as toxic zombies So on the face

it is a film about how the authorities
are responsible for what's going on but

that kind of soon put to one side
because what it's really about is a

Rampaging hippies foaming at the mouth
running around attacking normal people,

you know So it doesn't quite know where
it wants to live, you know in terms of

its, you know, whether it's being

subversive or not you know without
feeling without mercy they tracked their

victims down charles mccrann the
director now uh as far as i've been able

ascertain he uh became a businessman
after uh attempting to get started in

movie industry forest of fear is his
only film um my research indicated that

came to a very tragic end Apparently he
was one of the people who died in the 9

-11 terrorist atrocity.

He was working as his business had a
floor in one

of the Twin Towers and he died as one of
the people who died in the attack.

Now, Blood Eaters are out there.

They are coming, hunting, searching out
fresh prey.

Without feeling, without mercy, they
track their victims down.

Nothing will prepare you for the horror
of these butchers of the damned. Nothing

will protect you from the terror of the
Blood Eaters. See Blood Eaters Rated R.

This is Flesh for Frankenstein. In
Italian, it's il mostro è in tavola,

means the monster is on the table.

Flesh for Frankenstein came out in two
formats, one where it was cut and the

other one where it sort of seemed pretty
much intact from an American company.

However, eventually this became a video
nasty.

Most people attribute the direction of
the film to the Warhol factory creator

of... films such as Flesh, Trash and
Heat, who was Paul Morrissey. And Paul

Morrissey also wrote the script. And on
the back of the LP for Flesh of

Frankenstein, Paul Morrissey says that
in the morning he used to sit in the car

and write the script for that day every
day. And then he would give it to the

actors and he would write as the film
went along every day. And he also did

for the film that followed Flesh of
Frankenstein, which is Blood for

One of the stars of both Flesh of
Frankenstein and Blood for Dracula was

'Alessandro.

so was in Flesh, Trash and Heat, the
films directed by Paul Morrissey. So

if the rumours that Warhol only went on
set once aren't true, there is still a

very hardcore Morrissey -D 'Alessandro
-Warhol factory connection. This could

raise some issues about whether or not
the films are arthouse films or whether

indeed they are the kinds of films that
should be relegated to the visceral

bucket that is the video nasty.

Andy Warhol's Frankenstein, Gregoria,
Sexes.

wildest Frankenstein ever filmed.

Fleischer Frankenstein is most known for
the

seminal enunciation by Udo Kier's
Frankenstein. To no death, Otto, you

fuck life in the gallbladder.

Aside from the obvious resonance with
Last Tango in Paris, this film's most

famous scene, and obviously one of its
most radical scenes, is where Baron

Frankenstein delicately clips open
Dalila Delezzaro, who is his female

or Zambie, as the German Udo Kier
pronounces it, and puts his...

hands into her entrails and pulls them
out and describes each entrail that he

finds and then happily orgasms. But not
enough. He also flips her up and gets on

top of her and penetrates her little
aperture and similarly has a special

experience with her. One could argue
that this is a kind of necrophilia

violation. However, personally, I don't
understand it as such. What I think is

interesting about that scene in Flesh
for Frankenstein is that...

Baron Frankenstein is reconfiguring the
way that the body is used sexually.

And sometimes people miss the...

where the female zombie opens her eyes
as if she'd been awakened to a new

sexuality through being frottaged
internally.

And I think that that's why Flesh for
Frankenstein offers a rather liberating

interpretation of sexuality because the
only sexuality that is seen to be rather

violent and offensive is that of the
traditional heterosexual stereotype

unsurprisingly, by Joe D 'Alessandro.

The first time I ever experienced or
even heard of Flesh for Frankenstein, I

in Melbourne. I was a young,
impressionable 16 -year -old, and it was

shown in 3D, which is how it was
originally presented at a beautiful Art

cinema. So I went along, put on my
grayscale glasses, so it was a very,

elaborate kind of 3D, and I was so
enamoured of the film, I went back every

until the end of the run.

So the majority of people, obviously,
don't see the film for the first time in

3D. However, you can see with the
cinematography, there are very, very

particular elements where the 3D is
being explored.

And the most marvellous example of that
is the death of Baron Frankenstein where

he gets a barge pole through him and his
gallbladder dangles elegantly on the

edge of the barge pole and then we see
little bits of it drop off as he dies

the barge pole is literally eviscerating
the audience's face.

The film still shows occasionally in 3D
at places like the NFT, and it's also

available on DVD with a little machine
and some glasses so that one can watch

in 3D if you still have an old
-fashioned bubble TV.

So, again, Fleischer Frankenstein made a
very unique contribution to the world

of gore cinema because it
unadulteratedly presented this 3D.

It seems ironic now that the majority of
films that we are seeing in 3D are

Pixar and Disney films, so perhaps it
has a...

strange bedfellow in those kinds of
modern day films.

Vipco advertised their release of Flesh
for Frankenstein taking the American one

-sheet poster cover, which is the word
Frankenstein stitched into flesh.

And Fleischer Frankenstein was banned in
March of 1984, and it stayed on the

banned list right up until the end of
the video nasty phenomenon.

Strangely, it was never banned in
Australia, and it wasn't even cut in

Australia. It was simply part of the
explosive village roadshow company.

Andy Warhol's Frankenstein is here.

Pass it!

Newsweek magazine calls it the first
original Frankenstein in years. A

perversely fascinating movie.

Only close.

Oh! That... That was not so close! I
can't... Stop it! What are you

doing?

Swooping bats.

Severed limbs.

Hideously capitulated devices.

And various spare parts.

They all slither off the screen in what
Playboy magazine calls the most gruesome

epic ever unleashed.

Andy Warhol's Frankenstein. The

goriest, sexiest, and wildest
Frankenstein.

Every film.

Gestapo's Last Orgy, again, is one of
the nasty Nazi or eroticized Nazi films.

But it does stand out a little bit from
the rest, with the other half dozen or

so movies made in Italy.

in the first half of the 1970s.

They really are, many of them, barely
distinguishable one from another, and

of them even use the same stock footage.
But this one is a little bit different.

This one has got certain kinds of
artistic pretensions about it, I think,

it's also the one which is closest to
The Night Porter, because the film does

fact begin.

in the present day era and then flash
back to the Nazi era. And again, it's

about the relationship of a woman in the
present day to her former Nazi

captors. So there's quite a lot in that
film which does...

in a typically kind of Italian way, rip
off another movie, and that movie is The

Night Porter, even though The Night
Porter is by no means the only root of

nasty Nazi films.

And the film, as I say, does have some
pretensions to seriousness.

I mean, there are quotes from Dessard,
for example, and things like that.

But the film does contain a particularly
nasty and unpleasant scene, which no

doubt helps to explain why the BBFC...

has refused to pass it where a group of
high up Nazis have a

feast at this big dining table and it's
revealed at some point that one of the

ingredients of this feast is a Jewish
baby and then there's another scene a

later on in the feast where this woman
inevitably of course naked as she would

be in these films is doused in cognac
and then

set alight. I think this is kind of
pretty sub the Sardian stuff but

I think the film does have certain kinds
of pretensions to seriousness which the

other films do more or less lack.

Whether that makes the film any more
acceptable I think or less acceptable is

to viewers to judge.

Gestapo's Last Orgy was one of those
films that actually circulated in

Britain in the pre -video recordings
that days in a cut copy.

But of course, the fact that it was cut
didn't save it from prosecutions.

And this was put out by a company called
Video Film Promotions, who I think put

it out twice, actually, the second time
with a warning sticker on the back. And

then it was put out again by a company
called Video Shack.

And I believe that nowadays the video
shack version changes hands for

between £500 and £1 ,000 amongst video
collectors.

Amor et mortus. Love and death, the
poet's dream.

Amor et mortus.

Love.

I might say that your work has been
appreciated till now at the High

I trust we will not be obliged to revise
that opinion.

The front lines are now being sent
nothing but babies. Quite right.

Babies. Obey orders and do not discuss
them.

Rebecca was very beautiful.

She was 20 years old. The Nazis cut all
the tendons and ligaments in her legs so

that she was unable to walk.

Why did they do that?

She was trying to avoid the...

attentions of two of camp's officers.

She ran away.

Two officers got the idea.

Without the use of her legs, Rebecca
could only crawl at their feet.

So from then on, all the men had to do
was pick her up from the floor, throw

on the bed, and use her.

To make a rose bloom, you only need a
few grains of earth.

And you found your few grains.

Someone who loves you.

Someone who will help you.

Life.

Now I want life.

Life.

Life!

Men like Commandant von Stein represent
the last hopes of Germany.

They... are the evil that infects
everything it touches but maybe one day

will be built on the ruins of the
cruelty of nazi germany and those past

atrocities will serve as a warning for
the future and an enticement to keep the

peace forever you're marvelous lisa in
this

place which means only death you are
life yes because you taught me a

of death

Lucho Fulci had three movies on the
Video Nasties list.

The Beyond, Zombie Flesh Eaters, and The
House by the Cemetery, also on the

video media label under the Vampix
title.

which of course I used to work for at
the time, hence the reason why my review

from Starburst magazine is featured
prominently on the back cover.

It was the ex -certificate version, had
lots cut out of it anyway, but

nevertheless it was still successfully
prosecuted, probably because it was

lumped in with a lot of other titles at
the same time.

It was of course the third time out
for...

Fulci star Catriona McColl, or Catherine
McColl as she was called, because she

also appeared in City of the Living Dead
and in The Beyond.

Dagmar Lassander also joined her, Paolo
Malco, had a good sort of like

exploitation Italian cast.

This was Lucio Fulci's version of the
Frankenstein myth.

The Doctor, of course, was Freudstein.

We're there!

We're in this house!

Dr. Freudstein!

It always bothered me that he never
actually was too literal with that.

could have been so interesting, but no,
you don't get that. You just get the

usual bog -standard Lucio Fulci gore,
which, of course, you didn't see in this

version because it was all taken out.

Oh, have you been to Mrs.

Peterson's? What do you say to a widow
who finds out her husband butchered his

mistress and then took his own life?

That's where Peterson hanged himself,
from that iron railing.

I'm here behind you.

You've come.

However, I told you very clearly. I
tried, but my mother wouldn't listen.

said Daddy had to do some research here.
You shouldn't have come, Bob. You

shouldn't have.

In your opinion, why would a man like
him slaughter the woman he loved and

hang himself?

Well, I don't know.

The human mind.

Yeah. A research project on suicide with
a researcher who commits suicide.

Don't go inside, whoever you are.

Don't go inside!

Keep away from the door. Yes, I will.

Don't worry, Bobby.

I'll get you out.

Why? Who's there?

Who's in this house?

Dr. Freudstein.

You should have listened to what I said.

Well, 1980 was clearly a bumpy year of
brutality for Ruggiero Diodato.

Not only had he released Cannibal
Holocaust, the most notorious of all the

nasties, but it also directed House on
the Edge of the Park, which was also

banned on video.

Both films were released in the UK in
1982 to a storm of controversy.

Essentially, House on the Edge of the
Park is a home invasion movie in which

disco -dancing serial killers run amok
with a cutthroat razor in a bourgeois

house party.

It has to be said the theme of the home
invasion movie had become extremely

popular in the 1970s, particularly in
Kubrick's A Clockwork Orange.

Some of these home invasion movies
tended to be extremely brutal, though it

to be said that the body count in House
on the Edge of the Park is actually

relatively low. We only see two people
on screen being killed, one of whom

the key villain Alex, played by David
Hess.

However, it was the scenes of a young
female partigo being stripped and

brutalised with a cutthroat razor that
led to the film's instant notoriety. At

one level, the obvious motivation for
Diodato's film is Wes Craven's 1972

splatter epic The Last House on the
Left, and both films do make use of the

theme of class conflict to underscore
the violence that unfolds within their

narratives. They also both make use of
David Hess, who's cast as a serial sex

killer. I guess it would be easy to just
kind of dismiss Diodato's film as a rip

-off of Wes Craven's source material,
but I do think it stands on its own two

legs.

I do recall that David Hess once told me
in an interview that he's particularly

proud of his performance as Alex in
Diodato's film, and he sees it as the

accomplished. of all his Byronic sex
-themed roles that he undertook during

1970s.

Also, I think Diodato is very skillful
at using some of this source material

his own interests.

For instance, the theme of class
conflict is far more elaborated and

here than in Wes Craven's original,
where it retains a kind of cartoonish

element. And it's not the first time
that Diodato had...

underscored the kind of class dynamic
that leads to conflict in his movies.

There's a

number

of scenes in the movie where The working
class guests at this house party are

kind of made to feel very vulnerable and
humiliated. One scene in particular is

a kind of goaded disco dancing scene
with the Giovanni Lombardo Radice, which

far more horrific than any of the murder
scenes in the actual movie.

Although House on the Edge of the Park
does have the reputation as a video

nasty, it's far from being mindless
violence.

I think one of the things that Diodato
is particularly skilled at is setting up

problematic relationships between the
spectator and the violence that they're

viewing. Obviously Cannibal Holocaust is
the most accomplished example of this.

It kind of imbues a moral ambiguity in
our relationship to what we see.

And I think House on the Edge of the
Park also attempts to do this.

It's interesting to note that... in the
pre -credit scene is a particularly

gratuitous rape scene but Diodato
prevents us getting too attached to this

having these sudden black masked
cutaways which prevent you kind of

involved in the gratuitous enjoyment of
this rape scene equally in the most

violent scene of the movie where a young
female is stripped and then attacked

with a razor blade Diodato frequently
cuts between Alex's heinous actions and

the horrified onlookers at this party,
who kind of stand in for our own level

shock and disgust at what's happening.

If House on the Edge of the Park makes
for uncomfortable viewing, it also makes

for uncomfortable listening.

And that's because the soundtrack is
very, very important in this kind of

scenario of problematic horror viewing
that Diodato's trying to create.

Central here is the role of veteran
composer Ritz Ortolani, who previously

worked on Cannibal Holocaust.

And what was so problematic about that
movie is that Ortolani developed this

very, very soft and gentle theme to sit
against the most extreme images of

torture and suffering that the film
displays, which really kind of sets up

very... very problematic relationship
between what we see and what we hear.

strategy is also going on in House on
the Edge of the Park where Ortolani uses

almost like a romantic ballad to sit
under the scenes of sexual violence that

take place.

So it really again makes it problematic
for us to watch this as viewers.

And I think people often say that
Diodato is a director who glorifies

against women. But it seems to me he's
more interested in unpacking and

questioning the role of sexuality.

and violence and how we relate to them
as viewers.

I think House on the Edge of the Park
has a very interesting horror history,

you like. I mean, it was actually
refused a certificate on its original UK

theatrical release and then came out
uncut in the early 80s by Skyline Video.

And that was the version that was
promptly banned on grounds of sexual

Subsequently, in later years, the film
did have a video re -release or a DVD

release, but it's still missing over 11
minutes of footage. So it shows just how

sensitive the border is. to presume
themes of sexual violence within this

you

I Spit on Your Grave, which is a very,
very bizarre movie.

I was actually growing up in Birmingham
when I first saw this movie.

And I saw it in the Bullring, and I
thought, my God, what an incredible

And little did I know at that time that
this was one of the most, or seemed to

be one of the most controversial video
nasties ever released here.

For some reason in America in the 1970s,
we had a whole slew of very

controversial but significant rape and
revenge movies. We're talking about

like Lipstick.

Death Weekend, Miss 45.

But by far the most controversial rape
and revenge film made in this decade was

Miyazaki's debut movie, I Spit on Your
Grave. I spit on your grave.

What you are about to see did happen.

We're well aware of the controversies
that surround I Spit on Your Grave in

UK. It's also interesting to note that
it already had a wave of controversy in

the US, particularly scathing reviews
from American film critic Roger Ebert,

called it a vile bag of garbage, a
diseased and depraved product.

And what had been so traumatic to Ebert
were the kind of pivotal rape scenes

that occupy the central part of the
movie.

Ebert's comments were very much
overshadowed by the controversy that

the film's release in Britain in the
early 1980s. And I think central to the

effect of the movie were the very, very
salacious marketing campaigns that Astro

Video effectively imported, which show a
very bloodied, partly clad woman

seeking revenge on the men that have
violated her.

So it's quite surprising to find that
Azarki's film is actually far more

interesting than the video nasty label
would imply.

Take off your clothes.

I don't like women giving me orders.

The original title of the film was Day
of the Woman, and I think the movie was

then retitled by distributors to pick up
on the Grindhouse audience.

But The Day of the Woman as a title is
far more significant because this is a

movie about the day of one woman, a very
powerful woman, Jennifer Hills, who's

played, I have to say, very, very well
by Camille Keaton in the movie.

Now, in the movie, Keaton's character
leaves New York to go to a rural ideal

during the summer to write her first
novel. And it's here that she falls foul

four redneck males that include an
overbearing gas attendant.

his two unemployed sidekicks, and a
retarded delivery clerk named Matthew.

Well, these four redneck males first
stalk Jennifer when she's trying to

complete her manuscript, and then in the
most gratuitous and gruelling scene in

the film, they kidnap and assault her
before raping her in a 20 -minute long

ordeal. Stop it!

And it was this central scene which I
think caused so much offence,

understandably, so it's very, very
distressing.

What's interesting, however, is when you
look at the scene itself, it's

uncomfortable, but it's actually quite
revealing in many respects because

there's so little visual content to it.

Many of the shots of the rape scene are
either in long shot or Jennifer's body

is concealed behind objects such as
rocks. So more than that, I think it's

endless duration of the rape scene that
is so unnerving.

Moreover, she's released three times,
recaptured and...

then raped again so it's the idea of the
scene lulling both the character and

the viewer into a false sense of release
and optimism this woman will soon cut

chop break

In his very, very cutting review of the
movie, Roger Ebert said that I Spit on

Your Grave was a movie without a shred
of artistic distinction.

But what I think is missing here is the
director uses sound and soundtrack in

very, very interesting ways.

far more distressing than seeing
jennifer's rape scene which we see kind

relatively little is what we hear her
horrendous screams of terror and pain

which lasts the full 20 minutes so i
think sound is used in a very very

interesting way here both in the rape
scene and the revenge that follows

The most controversial revenge scene is
where Jennifer castrates the ringleader

of the redneck group in a bath.

But even more distressing than that
brief scene of bloodshed is the fact

have an elongated series of cries and
screams as he slowly, slowly dies. So

distressing that she has to go
downstairs and put on music to smother

cries. The soundtrack is used in a very,
very interesting way in the movie.

Why do you feel this?

Oh, yeah, that's fantastic.

No. No, not that.

And this scene, I think, is also unusual
because it's one of the few moments

where you have score in the film. I
mean, I think the director's clearly

to get as realistic an image of violence
and its consequences across as

possible. So there are brief elements of
a harmonica soundtrack which indicate

that Jennifer's about to be violated
earlier in the film. There's a church

which underscores her visit to a church
to ask God's forgiveness for the revenge

she's about to enact.

And this kind of scene. of classical
music, ironically, being played while a

castrated victim is dying in a bath
upstairs.

I'll give you something to remember for
the rest of your life.

It's no surprise to me really that in
recent years, I Spit on Your Grave has

actually been the subject of a feminist
reappraisal.

It's interesting to note that the movie
came out during the 70s when a lot of

feminist groups were asking women to
discover their own female voice or

language. And this female voice or
language is coded in the movie through

Jennifer's writing.

And in that respect, I think one of the
violations that she has to endure is

when the redneck group not only beats...
and rape her but they also parody the

word she's written before ripping up her
manuscript and assaulting her further

so if there's a recovery for jennifer It
occurs through her writing. We see her

piece together the manuscript and begin
writing again, and this gives her the

trigger to go out and fulfill her
revenge motif.

So I think it is a very, very
interesting film, and it's far more

more interesting than the tag of Video
Nasty would imply.

And there isn't a jury in this country
that will convict her.

There's no doubt that I Spit on Your
Grave remains...

uncomfortable viewing um but i do feel
it is a significant movie and

significantly it's still cut here in the
uk and i guess in a final irony both

this movie and the equally raw and ready
last house on the left have both been

the subject of new hollywood glossy
remakes which indicates that times have

indeed changed so in this case perhaps
we do need to go back and reassess that

original

I don't like women giving me orders I
spit on your grave

What you are about to see did happen

your grave this woman will soon cut chop

break and burn five men beyond
recognition and

there isn't a jury in this country that
will convict her

I spit on your grave.

Relax.

Oh, yeah, yeah.

I'll make you feel like you've never
felt before.

God bless your hands.

Wait till you feel this.

Oh, yeah, that's fantastic.

No, no, not that.

I spit on your grave.

What do you want?

The shoe I want.

Your grave.

and it certainly fosters the image of
Greece as a place where men are men and

sheep are scared.

This is a very kinky movie, as you might
guess.

There's a sequence in it at the
beginning which really sets it up to

how perverted it can be, and that is a
brother and sister having sex in a phone

box, and they phone their mum up just to
let them know what they're doing, so

that pretty much sets the tone.

It was directed by Nico Mastarakis, who
apparently wrote the script in a single

week, and we have to ask, what took him
so long? But I will say this.

it is one of those weird little movies
which is so kinky that you can see why

they put it on the nasties list for
example there's a sequence where a guy

sex with a goat and then he sits his
throat and this same particular

is rather less tolerant of homosexuals
and he makes a gay guy fillet a gun

barrel with particularly messy outcome
which really gave the clue to the people

who put the video sleeve together to do
the cover saying the lucky ones got

their brains blown out. It's a nice and
sleazy movie just the way we like them.

Last House on the Left. To avoid
fainting, keep repeating, it's only a

It's only a movie.

Only a movie.

Only a movie.

Probably the most notorious and much
banned, censored, withdrawn, argued

of all the films on the Video Nasties
list.

Wes Craven's first overground film as a
director, the foundation of his career.

It had a mainstream remake last year,
which is a sort of some...

guarantee of pop culture immortality
it's actually of the films on the

list it's one of the ones that's still
quite unpleasant to watch but in a sort

of challenging way rather than you know
a trash exploitative way just what did

happen in the last house on the left i
would argue

for it as a as a real film a film worthy
of sort of debate and discussion and

that But there is no denying that it
still contains lots of disembowelment

rape and chainsaw torture and the kind
of gory stuff that really ticked off

the censorious.

If your idea of horror was a Hammer film
or even The Exorcist or something like

that, then seeing a movie like this,
it's kind of raw, aesthetic, in -your

-face, grimy look.

particularly in the degraded video
version, was genuinely shocking.

There was really genuinely a sense of,
what have we rented out here?

Sights and sounds far beyond anything
you've tested.

The last house on the left.

I saw this film for the first time at
the National Film Theatre in rather more

elevated circumstances.

And even there, it seemed to have a kind
of grimy charge that...

rendered it different even from accepted
hardcore classics like Night of the

Living Dead or the Texas Chainsaw
Massacre. There's still something

unpleasant about this picture that
sticks in the memory nearly 40 years on.

To avoid painting, keep repeating to
yourself, it's only a movie.

Which is actually quite important for me
because I wrote a review of it after

that, and that was the...

sample piece i sold to the monthly film
bulletin which is my first published

work and actually got me a job and
therefore a career so yeah so i've

felt fondly about that on the left
because it was one of the first things

that sort of got me into the business i
doubt if anybody else has a sort of

nostalgic feeling of warm cuddliness
about it it's not that kind of a movie

it here is the first motion picture to
offer to the daring a look into the

Maddening space between life and death.

Some fun facts about Last House on the
Left. It was, in theory, a remake of

Ingmar Bergman's The Virgin Spring,
which has a similar plot line. But you

find a bunch of Westerns that have very
similar plot lines. Hanny Calder, a

Raquel Welch movie, in which she's raped
and then tracks down and murders the

people who raped her.

has a very similar idea.

I Spit on Your Grave is kind of a Last
House on the Left imitation.

And there are a few very close Last
House imitations from Italy, Late Night

Trains and House at the Edge of the
Park, which also landed up on the

list. I suppose the idea was that once
the plot got tarred, I mean, we were

lucky that The Virgin Spring wasn't out
on video. I'm sure that would have been

on the list as well. Only a movie.

Only a movie.

Only a movie.

If it's shocking and upsetting, well,
that was what it was trying to do.

But you can't help but sympathise with
the, I rented it out for my kids, or,

know, my granny in Rotherham happened to
see this by mistake. Because it's not

actually called, you know, cannibal gut
-munching, atrocity, eyeball -bursting.

Last House on the Left is sort of a
classy title for a film like this.

So... And the cover, of course, doesn't
give anything away.

I mean, there's some sort of unpleasant
pictures on the back.

But even so, it doesn't quite tell you
what you're getting. And I think that to

bend over backwards to be sympathetic to
people who were shocked and wanted to

ban stuff that I think is important that
people should be allowed to see, it's

still kind of a hand grenade of a movie.

It rests on 13 acres of earth.

Over the very center of hell.

Here's the first motion picture to offer
to the daring.

A look into the final maddening space
between life and death.

The last house on the left.

To avoid fainting.

Keep repeating.

Sights and sounds far beyond anything
you've tested.

The last house on the left. To avoid
fainting, keep repeating.

Take as much as you can.

Love Camp 7 is an early example of Nazi
exploitation movies, which became

prevalent in the 1970s. As it was made
in 1968, Love Camp 7 is actually the

first Nazi nasty.

Try saying that after you've had a few
drinks.

It's often thought that the nasty Nazi
or the sexy Nazi movies all had

their roots in the night porter.

But that simply isn't the case. The
roots go much, much, much further back

that. What in fact it is, it's our old
friend the women in prison movie, but

within a Nazi prison camp.

And nor is it the first film by any
manner of means to have a kind of sexual

theme. although set in the Third Reich.
You can think of movies like Hitler's

Children, for instance, or Women in
Bondage, which were made, in fact,

World War II.

The mixture of kind of sex, violence,
prison -like institution is actually not

that new, but this was the first time
that a film was made which I think had

serious intent whatsoever.

and was set within a nazi prison camp
and the main purpose of the film is

titillation and nasty things basically
being done by by men to women so

it's some kind of it is some kind of
first but the film does actually have

certain kinds of antecedents welcome
ladies to love camp number

It's nowhere near as gory or nasty as
the later movies like Ilse, She -Wolf of

the SS, but it is a particularly sleazy
example of its kind, with plenty of

softcore gropings and Jewish women being
harassed by sex -mad Nazis.

One of my favourite scenes in the movie
has this Alsatian dog being set on a

line of naked female prisoners.

But you can see the dog's more
interested in playing in the jet of

they're hosing the prisoners down with
than he is in actually attacking the

women. Producer R .W. Kress plays the
commandant in the movie, and another

familiar face to exploitation fans is
David Friedman, a legendary producer of

films like Blood Feast, who also turns
up in the movie in an acting role.

Love Camp 7 was...

one of those films that did circulate on
video in the pre video recordings act

days distributed by market and and abby
but of course once the video recordings

act came in the the video disappeared
but eventually it was

submitted on video or dvd to the british
board of film classification in

2002 and interestingly they refused to
pass it so this is one of the nasties

that does in fact remain banned the
bbsc's last word on the subject and the

reason they banned it in the first place
was they said that the whole purpose of

the work is to invite male viewers to
relish the spectacle of naked women

humiliated just for their titillation
well that's true so prepare to be

titillated because here's the trailer

This motion picture is not a figment of
the writer's imagination.

It is based entirely on actual fact.

Be prepared to let us take you inside
the barbed wire gates of love.

Camp 7.

Both of these officers, having full
knowledge of the assignment, have agreed

volunteer to help us.

Your arrest and your subsequent
imprisonment into the women's camp has

prearranged by Captain Kelly.

Perhaps your mission has not been
clearly explained to you. For the next

days, you are going to be whores for the
Third Reich.

There, ladies.

I trust you'll find yourself entirely
refreshed after your little shower.

I want to welcome you once more to Love
Can't Accept.

You may find it difficult to believe
that this motion picture is true.

You may find it incredible that two
young American women would volunteer to

throw themselves into the unspeakable
indignities and horrible humiliations of

Nazi love camp in order to serve their
country.

You will follow the factual story of two
American girls who are taken prisoner

by the Nazi Gestapo and placed in love
camps.

A camp where women were used like cattle
entirely to service the pleasures and

perversion of the Nazi frontline
officers.

Love Camp 7 is actually filmed on
location where the story took

place.

It is without a doubt the most total and
complete study in reality this theater

has ever had the privilege to present to
its patrons.

You may not find

this story amusing.

You may find it horrifying.

Disgusting. Certainly, you will not find
it light entertainment.

But we guarantee that you will not live
long enough to ever forget

the things you will witness and
experience inside Love Camp

7.

The only video nasty to quote George
Bernard Shaw in its credits, Madhouse is

not to be confused with the 1974 Vincent
Price Peter Cushing movie of the same

name. In fact, it was released as There
Was a Little Girl.

The main character, played by Trish
Everly in her only screen role, is a

whose mad, disfigured sister escapes
from a home for the criminally insane

sets about murdering various people with
the aid of a killer dog.

The big contentious scene that seems to
put this on the nastiest list was the

scene where a dog gets drilled in the
head. But looking at it nowadays, the

sequence itself is so obviously fake
that it makes you wonder what they were

looking at. The director of the movie
was Ovidio G.

Athenitis, one of the greatest
filmmakers of all time. Well, he thought

anyway, because he goes down in the
record books as the guy who fired James

Cameron from Piranha 2 because he
thought he could do a better job.

Now, what happened to James Cameron
anyway?

Anyway, I'm sure you'll enjoy There Was
a Little Girl, a .k .a. Madhouse.

Help me get out of here.

We can start over, just the two of us.

Our party is just beginning.

You can't leave yet.

You're not still afraid of her after all
these years? The stories you used to

tell. They were not stories.

And you're afraid?

What of?

On our birthday.

She had a special ceremony.

Soon it will be our birthday again.

Remember? Remember how we used to
celebrate?

Sister dear.

No.

Remember what I did? How it hurt?

I'll make it hurt again.

I'll make you suffer what I've suffered.

Ron,

you'll never get away from me.

Judy, what is it?

I told you I shouldn't have come. I told
you. Now what is it? What's happened?

She tried to do what?

What are you talking about?

I know there was a dog in my apartment
last night. Are you sure it wasn't a

nightmare?

Now, you know how you used to have them,
those dreams about dogs attacking you

the way you'd wake up screaming.

Sweetheart, the idea that your sister
would sig her dog on your friends is a

little bit off the wall.

They keep acting like I'm seeing things,
like I'm making it all up, like I'm

crazy. Look, honey, do you think I'm
crazy, Helen?

A light on him.

And camera.

I'll get it.

Okay.

Good night. Good night.

I'll call you tomorrow.

Okay.

Mardi Gras Massacre.

And as it says on the cover, it's an
American splatter movie.

And with a cover like this, it's hardly
surprising it fell foul of the dreaded

DPP's list.

It actually circulated on video from two
companies, first from Gold Star, part

of Duran, and then later there was a re
-release for Market Video.

There's a warning on the back too,
advising that it contains disturbing

Well, it does, but they're disturbing in
a different way, as it's without doubt

one of the most ineptly made films to
make the Nazis list.

The editor must have been working nights
and dozed off when working on it. In

some things, actors literally disappear
before they left the scene, as if they'd

been beamed up.

Or they even jump from one place to
another. It's really, really dreadful.

It's set in New Orleans with the Mardi
Gras fast approaching.

A wealthy guy in a suit is on the search
for evil hookers, so he can take them

back to his pad for sacrifice. In fact,
he has a purpose -built sacrificial

altar to take them to, before
slaughtering the unfortunate young

Once he gets them back through his pad
and tied up, he rubs oil onto them,

they quite like, and then he promptly
disappears behind a red curtain, only to

reappear moments later wearing this
weird hippie cult leader type outfit and

mask. He then proceeds to cut the girls
up first at hand, which accepted the

money, then the feet which carried her
to his door, and finally he cuts them

open and rips out their hearts.

Only it's obvious we've just cut to a
rather cheap looking latex body double

a sheep's heart pounding away.

And all the while we witness to God
we're subjected to this most dreadful

-of -context disco music. It really is
hard to imagine.

All I can assume is it was given to the
production company for free to promote

the album of some sort.

Beautiful women are dying, and so are
the New Orleans cops.

The usual inept cops are assigned to the
case, and on a visit to one of the many

strip clubs and generally seedy joints,
one of them ends up shacked out of a

prostitute who owes him a favour.

we then get a really soppy series of
hand -in -hand lovers gazing into each

other's eyes amidst the continuing
slaying and stripping.

So what do we know about the director,
Jack Weiss? Well...

Before making Mardi Gras Massacre, he
did another cheap over -reduction called

The Crypt of Dark Secrets, which also
naturally bombs, just like this one.

However, Scotland Yard have given him
the fame he so missed out on back home

the USA.

Mardi Gras Massacre appeared on the
DPP's ban list in October of 83, and

remained there till the bitter end.

Here's a really rare trailer that sums
things up quite nicely.

New Orleans, Mardi Gras, masks and
murder.

The Mardi Gras Massacre.

Beautiful women are dying, and so are
the New Orleans cops.

As they battle a bloodthirsty madman, a
masked monster, Mardi Gras Massacre.

Night of the Bloody Apes by Rene
Cardona.

This little 1968 Mexican gem is almost
indescribable. However, I'm going to do

my best. It's the story of a mad
scientist whose son dies and he has to

reanimate him. But of course, the only
thing available is a gorilla heart.

One man challenges nature on the Night
of the Bloody Apes.

And so what we get is the age -old story
of...

my child is dead, I must make him alive
again, but I don't have anything to hand

that I can use.

And so because he transplants the
gorilla heart, we have the very

element of this film, which is really
why the film was probably banned, which

stock footage open heart surgery.

So we have these traditional kind of
shots of very...

uh intrigued looking faces doing
something with their hands and then

will cut to a very grainy kind of open
heart surgery and an incredibly visceral

one you see the heart wrenched out and
jumbled around in people's hands for a

little while as far as i can tell the
human heart and the ape heart aren't

necessarily different possibly because
the stock footage is from the same body

there's also another lovely element in
the film which is the I think, seemingly

random and arbitrary story of a female
wrestler and her wrestling with her

career. And so we have an opening scene
of two female wrestlers and then the

female wrestler has a vague relationship
with the person who is investigating

the murders.

Yet we never really have an
understanding of why we get this

think that's quite a lovely thing
because it's almost like the director

said, well, here's a little story of a
woman grappling with her relationship

with her work and her job and things
like that.

And so in that sense, it's quite
intriguing because, of course, the

of wrestlers is men wrestlers and we
have the female with the mask and

everything. Some other little tidbits
that occur in this film, when the son,

course, becomes the ape, the bloody ape.

He's a very hairy man, the son, and he
becomes an ape, and suddenly he's got no

hair but a huge buff body and a hairy
ape face. So I think there's a lovely

little exchange going on that one of the
best ways to get rid of your body hair

may be to become an ape, and therefore
you may have an ugly face. However, your

body will become super buff. The lust of
a man in the body of a beast.

Also, the Bloody Eight doesn't really
know what to do in the sex scenes. He

of violates women, but he seems to get a
little confused. And so before he

actually does anything to them, he tears
them apart a little bit and then runs

away. Except for, of course, when he
abducts the little girl. And I'll leave

that up to you to discover what happens
in that circumstance.

But Night of the Bloody Eights is quite
an endearing film, ironically.

I found myself feeling quite tender
towards the characters. And it is a much

better film than it...

possibly sounds.

My only concern is that the English
title, which is Night of the Bloody

a little bit misleading because as far
as I can see, there's only one ape. So

maybe we're waiting for the sequel or
the uncut footage of the apes that we

never saw.

of a bloody apes. Creatures born of
madness.

Half man, half beast. All one.

It's the monster!

The might of a bloody apes.

One man shares their terrible secret.

One man challenges nature on the night
of bloody apes,

sharing their bloodlust for the name of
science, daring divine will with his

bizarre creation.

But a horrible half -beast has you.

They strike again.

And again, and again.

The lust of a man in the body of a
beast.

What can stop them?

What can appease them?

Half man, half beast.

bloody apes.

They rip, they tear, they claw you to
pieces. It's an orgy of

terror.

Beware, it's the night of the bloody
apes.

They claw you to pieces. It's an orgy of
terror.

Beware. It's the night of the bloody
apes. And the creatures of hell

are loose.

The night of the bloody apes.

Now, see if you can guess why Night of
the Demon made it to the Nazis list.

Some bright spark at either film
services thought it would be a good idea

on the cover, warning this film contains
scenes of extreme and explicit

violence. Talk about giving the game
away.

Anyway, not to be confused with the 1957
Jacques Tournier movie of the same

name, which of course is a classic of
its kind. This is a low -budget American

movie directed by James Wasson, which is
all about Bigfoot, you know, the hairy

monster of the boondocks.

There is a demon.

a creature and this creature goes on the
rampage and it goes ripping people's

arms out and beating them to death with
the soggy end shoving people's faces on

hot plates but the bit that gets talked
about the most well in my

household anyway is the bit where this
biker stops beside the road for a pee

gets his wedding tackle hoisted off oh
brings tears to your eyes and i remember

once a friend said to me chris you've
got to see night of the demon And I

oh, why? What's it like? He goes, this
bloke gets his cock pulled off. And I

went, well, two things, really. I don't
want to see a man's cock, and I don't

want to see a man's cock pulled off.

But I still think I watched it. I think
I went and hired it.

It's not one of those movies that's ever
going to live long in the memory, but

it's pretty much a classic example of
low -grade, low -budget 80s slasher

movies.

film that probably makes a better
trailer than it does a movie Those

stories are heard about in the forest
They're true.

They're all true officials found a
camera with this film in it, but no

the people We

believe that there is a creature living
in these mountains

and possibly a close relative to man.

We're already in Bigfoot territory,
where all those people were killed.

Not far from here, a motorcyclist was
found.

There was no trace of the thing that
killed him.

Bigfoot's not playing games anymore.
Maybe next time he won't be happy just

scare us.

Arguably, the most controversial video
nasty of them all is this one.

Romano Scavolini's Nightmares in a
Damaged Brain.

Now, why is that?

Well, mainly because the distributor of
this film, David Grant, got put in

prison for releasing a version that was
actually slightly longer than the BBFC X

-rated cut.

In any form, it was terrible.

The gore was unconvincing. You could see
it was appliances.

And the blood is too red. It's got that
sort of lipstick gloss colour.

It wasn't just us who thought it was all
really fake. Tom Savini did too.

I mean, he was down as special effects
make -up artist on the credits, but even

he got really upset because he was only
like a consultant and actually really

did complain long and loud when the film
was released in America as just plain

old nightmare.

It's quite misogynistic.

It's very trashy.

That's one of the reasons why I think
this got leapt on as well.

Where do you go?

There's no place to hide.

I actually didn't see this on video. I
actually saw it at the very first press

show ever. And here's the actual ticket
that I've got from that night.

It was at the Prince Charles.

And it was on a Monday, 19th of April,
1982, at 11 .15.

I remember it well. We were given a
vomit bag and we were asked to guess the

weight of the brain that was actually in
the foyer.

Apparently you'd win £50 if you guessed
it right, which David Grant thought

would actually get a bit more publicity
mileage.

Unfortunately, he got the wrong sort of
publicity.

The following preview trailer is not
suitable for viewing by persons of a

nervous disposition.

Switch off your television set
immediately unless you are prepared to

terrified.

Nightmares in a damaged brain.

Prepare yourself for the most intensely
shocking motion picture of our time.

The motion picture everyone is talking
about.

Hello?

Hello, Steve?

Nightmares in a damaged brain.

Kathy?

Kathy?

Tara will surround you.

Pray

you

survive the night.

Listen to me, George.

It's only a dream, and dreams can't hurt
you.

Are you there, George?

Daddy!

George, don't hang up!

Where do you go?

No place to hide.

The dream you can't escape.

Alive.

Nightmares in a damaged brain.

Right, this is the Antichrist in a video
box here.

Snuff, one of the most notorious of the
titles on the Video Nasties list. Ladies

and gentlemen, the bloodiest thing that
ever happened in front of a camera.

It's actually even in America a
notorious film. It's basically an

foist off something that was utterly
unreleasable on the public by whipping

ridiculous fake controversy.

It was originally an Argentine -based
movie called Slaughter, which was a

cheap version of the life of Charles
Manson.

Utterly uninteresting, without merit,
and totally ridiculous.

Even in the 1970s it couldn't get a
theatrical grindhouse release in

So Alan Shackleton, the distributor, did
this thing of shooting an extra scene

which purported to show the on -camera
murder of one of the actresses in

the movie.

slaughter and re -releasing it with the
line, you know, shot in South America

where life is cheap.

The film that could only be made in
South America where life is cheap.

And saying that this really happened and
then hiring protesters to stand outside

the cinema saying that this shouldn't be
shown.

And then after that, some real
protesters came along saying it

shown. They, of course, bought entirely
into the notion that it showed a real

person being murdered for entertainment
purposes on screen, which I think

anybody who actually sat through the
hour and a half of slaughter...

among the more boring examples of his
genre, to get to the gruesome bit at the

end, realised it was laughably fake. It
was people throwing sausage meat around

and trying not to laugh, although
conceptually quite horrible. I've got to

as a depiction of the making of a snuff
movie...

The one aspect I find funny is the idea
that a snuff movie would have a full

crew and a continuity girl taking notes,
saying, when you do the reverse shot,

make sure the entrails are in this
position or it won't cut together

But she gets excited and starts holding
the victim down.

It has no end credits because, of
course, all these people would be

it came to that. So anyway, when it came
to being released in Britain...

This crowd, Astra Video, licensed it
from Wizard Films, Charles Band's

for release and mocked up this thing. A
few hundred copies went out to the

trade, but then they caught on that this
was going to be a hot potato.

And they originally said they were only
going to put it out for a month because

they knew that it was going to be
controversial, but their lawyer kind of

advised them not to do it.

And so after they sent out the...

The preliminary copies, they actually
took trade ads out saying, no, actually,

we're not going to release this after
all, and backstabbed completely and

essentially buried it.

Bootleggers, however, got hold of this
and put it out with a blankish sleeve,

again trying to hype up the suggestion
that this showed a real, actual murder,

and it then became as ridiculously
controversial here as it was in America.

was sort of hauled in, and many, many...

press stories about video nasties would
claim that they included so -called

snuff films, actual films of people
being murdered as a form of pornography.

And it always turned out to be this or
Cannibal Holocaust, you know, films

are obviously fictional and have a
fictional context and special effects

proper actors and stuff like that to
this day.

actual snuff movies seem not to have
turned up, which I find amazing because

myth has been around.

so long and it would seem particularly
in the modern era so easy to do if you

just happen to be unscrupulous and
murderous and the world isn't short of

like that it may well be that things
like martyrdom videos or execution

which you can find on the internet
satiate whatever tiny market there

for the notion of the snuff film that
They don't need to

exist anymore.

Snuff, the bloodiest thing that ever
happened in front of a camera.

I doubt if even, yeah, I think back then
probably bootleggers were making more

of E .T. and Saturday Night Fever than
they would from a marginal, if

controversial, title like Snuff. But it
was around, it was available, people saw

it in brown paper labels and all that
kind of stuff, which only added to...

it's sort of legend you know the fact
that it was distributed in this sort of

underground way made people you know
some of whom really ought to have known

better think that oh maybe it was real
um but then i think people saw

it and realized oh no it's not and the
waters closed over. It's one of those

films where the story behind its making
and marketing is so much more

interesting than actually watching the
movie that you think the only way to re

-release it would be with a really good
feature -length documentary about the

ups and downs of snuff, which certainly
I'd be interested in watching. I would

not be interested in watching snuff ever
again.

That said...

I would kind of like to know how
Slaughter ends, if anybody out there has

the actual ending, because the snuff
scene replaces the climax of Slaughter.

So for the five of us who are actually
following the story, we'd like to know

Sutan, the Charles Manson figure, gets
caught or not.

Warning.

You are about to see scenes of a film
said to be the most controversial in the

history of motion pictures.

The movie they said could never be
shown.

In fact, you have read the headlines
across the newspapers of this country

the world, and you have heard the news.

This is the movie that could only have
been made in South America, where life

cheap. It will shock you and astound
you.

It is not meant for weak hearts or weak
stomachs.

Because of the highly controversial and
violent nature of this movie, We are

only able to show you some selected,
edited scenes at this time.

But the complete, unexpurgated,
unedited, uncensored version will be

to this theater.

Ladies and gentlemen, the bloodiest
thing that ever happened in front of a

camera.

Snuff.

This is the true story of four innocent
young actresses who thought they were

making just another movie.

But didn't know they were making the
ultimate movie.

Snuff, the film that could only be made
in South America where life is cheap.

What starts as a simple story of love
and sexual passion ends in an orgy of

diabolical bloody lust.

A movie so controversial you will find
it difficult to believe it was actually

filmed.

Snuff.

Then you two go and die!

Snuff. The bloodiest thing that ever
happened in front of a camera.

It's one of those films whose cover,
rather like that of Driller Killer and

Cannibal Holocaust, caused an enormous
furore.

As you can imagine, really, if you look
at the cover.

But the interesting thing is, with this
cover, that although it looks pretty

tasteless, doesn't it?

Originally, on this artwork, the woman
had no clothes on at all.

But for the video box, she was given
this little... painted on g string and

when the adverts appeared in the trade
press they also painted on a bra as well

and you can imagine with this in the
video shop windows and this in the trade

press even with bra and knickers um
people thought my god what on earth is

video industry um producing now very
very often it was the covers and the

advertisements

for these so -called video nasties which
caused all the trouble.

People didn't actually need to see the
videos themselves. All they had to do

look at the covers and say, oh, my God,
this surely must be banned.

It's not surprising that SS Experiment
Camp was one of the early videos to be

prosecuted under the Obscene
Publications Act because, again, Obscene

Publications Act up until now had only
been used for...

pornography for videos and films
containing sex, whereas what the

Public Prosecutions wanted to do was by
bringing these test cases against

certain video nasties like SS Experiment
Camp, he wanted to see whether violence

could be caught under the Obscene
Publications Act as well, and it was.

Help me, help me! Oh, God, let her die!

Now, in point of fact, if you know
anything at all about either women in

movies, of which SS Experiment Camp is
one, and if you know anything at all

about the specific Nazi versions of
women in prison movies, you'll actually

know that this film is actually pretty
tame by comparison. I know when you hold

up the box and say this film is quite
tame, people think you must have very

standards.

Actually, there's nothing particularly
ghastly about this.

You are going to serve a victorious
cause for our Third Reich.

An awful lot of SS experiment camp, like
a lot of the Italian -made Nazi

horror movies.

consists of endless films of partisan
warfare and war footage.

Yes, of course, there are a few of the
obligatory scenes where women are

undressed and given medical examinations
and where a certain amount of violence

is carried out towards women, but SS
Experiment Camp is one of the tamer of

these films, and I think very tame
compared to, say, the Canadian film

-Wolf of the SS.

So...

I think the reason why the nasty Nazi
films, or the erotic Nazi films, or call

them what you will, ran into trouble
with the BBFC was for the

same reason that other women in prison
movies ran into trouble with them. It

wasn't so much the Nazi aspect that was
a problem, it was the mingling of sex

and violence and kind of eroticised
torture, which was and is the problem

them.

I've already sacrificed too many
prisoners, experimenting with these

Yes, I've noticed your undue concern
over the necessary death of some of

prisoners. They are humans.

Have you considered, Dr. Steiner, they
are against the Third Reich?

Repeat it to her again.

I swear my allegiance to the supreme
ruler, our Fuhrer. Say it.

Past and future no longer exist for you.

You are going to serve a victorious
cause for our Third Reich.

This is just the beginning, you frigid,
puritanical bitch!

You're a political prisoner.

He's a German soldier.

I'll never get that man out of my
thoughts.

Turn one full atmosphere.

Not yet.

Okay, now here's where I out myself.

Yes, I used to work for Video Media, the
company who released Tenebrae on video

in 1983.

Here's the actual video release
announcement from Video Media. As you

20th June 1983, and it cost £33 .95.

That's like...

A million pounds in today's money, isn't
it? How expensive were videos back

then? How could we afford it?

The reason why I worked for them was
because my best friend Maureen Bartlett,

who was a writer of photo play at the
time, decided she wanted to enter the

video business.

And I was one of the people she
employed.

Naturally, we were looking for titles,
and one of them was Dario Argento's

Tenebrae.

beyond belief.

I was desperate to meet the man.

I'd been such a big fan.

And when he came over and we met, it's
the reason why we became so close and

I went on every single film set after
that, which led to my book, Profondo

Argento. The book deals with a murder
committed with an old -fashioned open

razor, right?

This girl, too, was killed with a razor,
and your book's pages stuffed into her

mouth. Eagle -eyed among you will notice
that all my reviews are actually on the

back of the video sleeve. I mean, I
worked there.

I put them in there.

This is one of those famous

cases where the DPP pounced on a film
after it had got a BBFC certificate.

So really, it was on very shaky ground.

And the main reason why they didn't like
it was for this scene of

the act's dismemberment.

Now here, which is like a special
effects scene that I actually had taken

on the set, you can see how fake it is.
I mean, there's the gun actually sort of

like nailed into the table, and there's
her arm, which looks so extended and so

fake, it's unbelievable, which makes it
completely ludicrous, the fact they cut

this scene out of the video in the end.

The reason why this film is now quite
infamous...

not just in England, where it was a
video nasty, but in Italy, is because

girl in that photograph is Veronica
Lario.

And, of course, she became Mrs Silvio
Berlusconi, the Prime Minister of

wife. For years, he actually stopped
this movie going on Italian television.

And all the scandals that you're hearing
about now is all due to her.

read all your books, Mr. Neal. The book
deals with a murder committed with an

old -fashioned open razor, right?

This girl, too, was killed with a razor,
and your book's page is stuffed into

her mouth. Can I ask you something?

If someone is killed with a Smith &
Wesson revolver, do you go and interview

president of Smith & Wesson?

Peter, Peter, you can't let me down now.
We're within two days of making a deal.

Please, stay just until Friday.

My life is in danger. There's no deal in
the world worth risking my life for.

Listen don't hang up. We have to talk

Peter?

Come on, hurry.

You'll be okay.

We've got to get out of here.

The guy, the guy, the guy has an axe.

Could it be somebody I know?

Yeah.

I wish I'd never written that book.

You don't mean that. I've made charts.
I've tried building a plot the same way

you have.

Tried to figure it out, but...

I just have this hunch that something is
missing.

A tiny piece of the jigsaw.

Somebody who should be dead is alive, or
somebody who should be alive is already

dead. Explain that.

You know, there's a sentence in a Conan
Doyle book.

When you have eliminated the impossible,
whatever remains, however improbable,

must be the truth.

The Werewolf and the Yeti. What a title.
And it's certainly well worth watching

as you won't find anything else on the
DPP Nazis list that's quite as downright

demented. Spanish actor Paul Nashi,
whose real name is Jacinto Molina, wrote

stars in this one. Sadly, he died in
2009, but remains a Spanish horror

He was most famous for playing a
character called Voldemar Duninsky,

you'll be pleased to hear he does in
this film.

It begins in London with the sound of
Scottish bagpipes.

Hilarious. After being informed about a
rare sighting of a yeti in the

Himalayas, the intrepid Voldemar sets
off with a group of explorers in search

the mythical beast.

Sadly, all doesn't go to plan.

He loses sight of his group and ends up
lost in the mountains. He's miraculously

rescued from certain death by two rather
sexy young ladies.

You may be asking what these scantily
clad young ladies are doing in the

mountains of the Himalayas, right?

Well, they're actually guarding a tomb,
but all is not what it seems.

He quickly recovers and finds himself
romping naked with the pair of them.

However, he realises that one is
actually a vampire and the other who

is a werewolf.

Unlucky. He staggers out of the cave and
as it's a full moon, yes, you've

guessed it, does a bad dissolve effect
transformation into a werewolf.

The rest of the explorers, including his
main squeeze, Sylvia, get attacked by a

group of thugs who cart them off to the
dungeon of a sadistic Betty Page, Susie

Wong lookalike called Vandessa, and an
Anton LaVey lookalike called Sekka Khan.

One of the hapless young ladies is
bound, and in the scene that most likely

the film banned, has the skin painfully
peeled off her back for transplanting on

the evil Khan's back.

The film ends with a fight between the
werewolf Valdemar and the Yeti, who is

about to attack sexy young Sylvia.

All's well that ends well, however, as
she cures him of the werewolf's curse

they head off into the sunset.

It does all sound rather silly, doesn't
it? But isn't that what exploitation

films should be?

Fun, sex, werewolves, torture, nudity.

It was issued to American cinemas as
Night of the Howling Beast, and it's a

that it hasn't been issued here since
this canon video release, which,

incidentally, is highly collectible
indeed.

It remained on the final DPP -39 list
right up to the very end. Here we have a

rare theatrical trailer.

The full red moon will soon shine in the
sky.

The demons will come out of their hiding
places.

and their howls will be heard in the
night announcing death.

My men are afraid and do not wish to go.

What mysteries lie hidden in legendary
Tibet?

What horrible demons terrorize men who
don't think twice about risking their

lives?

Frightened men pray to their gods with
their ritual dances against the evil

spirit, the werewolf and the yeti.

Tarakoram is a land of corruptions and
brutal men whose law is violent crime.

Shut up. Death is the kindest end to
those prisoners in the dungeons of the

palace of the Sarkar Khan, where a
beautiful and evil woman submits her

to the most diabolical tortures.

And he wasn't killed by a wolf.

It was you.

In The Werewolf and the Yeti, there is
terror, eroticism,

and adventure.

Bringing together the audience and the
actors in a nightmarish atmosphere.

The Werewolf and the Yeti.

The Yeti, the mythical being of the
mountains of Tibet, meets the werewolf

bestial and diabolical battle.

No!

Paul Nashie, in his most recent creation
of the werewolf, with Grace Mills,

Sylvia Solar, and a great supporting
cast.

Only I know of a remedy for your
illness.

A remedy?

What is it?

There exists a magic plant with red
flowers on it.

When its petals are mixed with the blood
of a young girl, they can cure those

like you who have been contaminated by
the demons of Karakoram.

Love.

The Werewolf and the Yeti.