VIOLENT BLOOD BATH

 VIOLENT BLOOD BATH (aka Pena de Muerte/Penalty of Death/1974). Director: Jorge Grau. 

Oscar Bataille (Fernando Rey of The French Connection and The Discreet Charm of the Bourgeoisie) is a French prosecutor who is married to the younger Patricia (Marisa Mell), whom he neglects. At a resort hotel, Patricia runs into an old flame, Wilson (Espartaco Santoni), who -- unlike Oscar -- objects to the death penalty and wants to interview and debate him on the subject. He also wants to renew his romantic relationship with Patricia, although she insists that she loves her husband and resists Wilson's entreaties. When a family is slaughtered in the town, Oscar realizes that the murder scene recreates one of the terrible crimes he prosecuted. Oscar is afraid that more copycat murders will follow, and on this he is right. As Wilson and Patricia become closer, Inspector Navarro (Julian Navarro) investigates two unlikely suspects in the form of plain would-be actress Laura (Elisa Laguna) and her temporary boyfriend, actor Javier Duran (Maximo Valverde). One of these people will also become a victim. Then Patricia finds a certain scarf draped over a dead body and begins to wonder if her husband is losing his mind ... 

Fernando Rey falls asleep watching Violent Blood Bath

Violent Blood Bath is the lurid English title of a Spanish thriller that contains very few thrills. While the movie doesn't quite go in the direction you think it will, once it makes up its mind it doesn't deviate, meaning there is no final twist and nothing of much interest happening on the screen. If you're a gore geek hoping for a literal "blood bath," be advised that all of the murders occur off-screen. When the scene comes along in which Fernando Rey is napping in his bed, you may think your time would be better spent doing the same (without Rey) instead of sitting through this movie. 

Verdict: Pretty much a waste of ninety minutes. *1/2. 

THE FISH WITH THE EYES OF GOLD

Ricardo Vazquez and Wal Davis

THE FISH WITH THE EYES OF GOLD (aka El pez de los ojos de oro/1974). Director: Pedro L. Ramirez.

In Girona, Spain Zachary (Ricardo Vazquez) witnesses the murder of a woman on a beach by an assailant wearing a scuba outfit. Coincidentally his friend, Derek (Wal Davis), spends the night with a woman who picks him up and when he awakens finds her butchered in the bed. The Inspector (Barta Barri) is suspicious of Derek, who maintains his innocence. Meanwhile the murders continue, and Derek comes to suspect Marco (Rex Martin), a gigolo who is having an affair with Zarchary's wife, Virginia (Norma Kastel). Derek also begins a relationship with Marina (Ada Tauler), whose grumpy father runs an aquarium. While Derek and Zachary are on their way to confront Marco, the brakes on their car fail ... someone is out to keep them from finding out who the killer is. It all seems to tie in with a piece of jewelry shaped like a bizarre fish ... 

Ada Tauler as Marina

The Fish with the Eyes of Gold is a pitiful attempt to come up with a twisty, convoluted, Dario Argento-type shocker along the lines of The Bird with the Crystal Plumage. Forget it! -- this dull movie has a silly and confusing plot line, a poor musical score, virtually no suspense or style, and if you keep watching it's only because you want to learn who the killer is and what his or her motive might be. It's not worth waiting around for. One murder -chase sequence is presented in slow-motion, which makes it even less exciting. One victim is stabbed in the shower, a scene that does not compare favorably with Psycho. 

Verdict: Very poor Spanish giallo. *1/2. 

EDGE OF THE AXE

The maniac at large

EDGE OF THE AXE (1988/aka Al filo del hacha/1988). Director: Joseph Braunstein (Jose Ramon Larraz).  

A woman killed in a car wash by an ax-wielding maniac is the first of several female victims in the small town of Paddock, which has only two cops. There are plenty of suspects: computer geek Gerald (Barton Faulks); his best friend, the exterminator Richard Simmons (Page Mosely), who married his older wife Laura (Patty Shepard of The Killer is One of 13) for her money; Police Chief McIntosh (Fred Holliday), who tries to discourage everyone from thinking a serial killer is on the loose; creepy Father Clinton (Elmer Modlin); and others. 

Christina Marie Lane and Barton Faulks

Now you might think that the residents of this town, not to mention the (unseen) mayor, would insist that the Police Chief call in the FBI when there is murder after murder with no one being arrested. Then it develops that all of the victims are connected, but only the computer nerd figures it out and only near the very end. The only thing more ridiculous is the identity of the killer -- this come out of nowhere -- who really doesn't seem physically capable of the killings, which are gruesome if not too graphic. The script is disjointed, as if if were written on the fly, or if scenes were left on the cutting room floor. Barton Faulks gives a more than decent performance as Gerald, but both he and best buddy Richard are pretty obnoxious characters. Apparently the director has some sort of following but it's hard to see why, as this film -- while it may have some suspense -- has no style or special flair to it at all. You wouldn't know that this was a Spanish production as the American cast all speak English and no one is dubbed. The movie was filmed at Big Bear in California.

Verdict: An ax murder movie you can miss. **1/4. 

NO ONE HEARD THE SCREAM

Vincente Parra and Carmen Sevilla

NO ONE HEARD THE SCREAM ( aka Nadie oyo gritar/1973). Director: Eloy de la Iglesia. 

Kept woman Elisa (Carmen Sevilla) maintains her own residence in a sparsely populated apartment building. One afternoon she catches her neighbor, failed writer Miguel (Vincente Parra), throwing his dead wife's body (Maria Asquerino) down the elevator shaft. Although apologetic, Miguel forcibly insists that Elisa help him dispose of his wife's corpse, which she does, driving off with him beside her and the wife's body in the trunk. Strangely, Elisa does not try very hard to get away from Miquel, and soon their relationship starts to head in unsettling directions. They have more in common than either had imagined but Miguel may be keeping secrets ... 

Sevilla with Tony Isbert

One thing you have to say for No One Heard the Scream -- it's certainly unpredictable. There is also a nifty sequence when our odd duo come across a highway accident and are told by cops that they must put a couple of victims in the back seat and their large suitcase in the trunk! A third person, an attractive young man named Tony (Tony Isbert), shows up and has a couple of appearances, but this doesn't really lead into anything that interesting. The final twist is interesting, although it raises unanswered questions. The whole thing might have been more absorbing if the two leads were a lot hotter or dragged Tony more into the story. 

Verdict: Intriguing Spanish suspense film comes close but doesn't quite cut it. **1/2.  

WHAT THE PEEPER SAW

Mark Lester and Britt Ekland

WHAT THE PEEPER SAW (aka La tua prezenza nuda!/1972. Directors: James Kelley; Andrea Bianchi.

12-year-old Marcus (Mark Lester) comes home from school -- supposedly because of a chicken pox outbreak -- and meets his new stepmother, Elise (Britt Ekland of King Solomon's Treasure), for the first time. Initially they seem to hit it off, but Elise accuses Marcus of lying about some missing money. Her husband, Paul (Hardy Kruger), takes the boy's side. She goes to Marcus' school to speak to the headmaster (Harry Andrews) and discovers that Marcus was actually expelled from school for bizarre behavior, which includes peeping on couples in the local lover's lane and torturing and killing a cat! But Elise begins to suspect that Marcus may be guilty of even worse things, especially when she learns his mother's death might not have been an accident. Is the boy a sociopathic murderer, or is Elise herself in need of psychiatric help?

Who's the crazy one? Lilli Palmer, Britt Ekland

What the Peeper Saw has an interesting premise, but despite a decent screenplay it lacks the tension and skill that could have turned it into a nail-biter. Instead it meanders along at a deliberate, even dull, pace with the occasional startling moment, such as when Elise agrees to strip for the boy in exchange for his confessing to certain malfeasances. This certainly gets the attention of psychiatrist Dr. Viorne (Lilli Palmer) in a well-played sequence in her office that is by far the best scene in the movie. All of the actors are quite good in this, with Palmer a stand-out as she realizes Elise may need more help than the child. The ending packs a small wallop. 

Verdict: Too bad. This one had distinct possibilities, but ...  **1/4. 

THE NIGHT OF THE SCORPION

Jose Antonio Amor and Nuria Torray

THE NIGHT OF THE SCORPION (aka La casa de las muertas vivientes/1972). Director: Alfonso Blacazar.

"Your father has been dead a long time now and I consider you part of my inheritance." -- Sara. 

Oliver (Jose Antonio Amor) believes that he was responsible for the falling death of his wife, Helen (Gioia Desideri), during an argument when he was drunk. A year later he arrives back at his castle-like home with a new wife, Ruth (Daniela Giordano), whom he barely knows. The household now consists of the newlyweds; Oliver's sister, Jenny (Teresa Gimpera of The Black Box Affair), who was in love with Helen; and Oliver's stepmother Sara (Nuria Torray), who is hopelessly in love  -- and lust -- with him.  At night Sara becomes a peeping Thomasina, peering at Oliver and Ruth -- as she did Oliver and Helen -- through a hole as they make love. Ruth decides to bring a private detective  (Osvaldo Genazzini) into this twisted situation so that he can get at the truth, but things may not work out quite the way the young woman intended ... 

Amor with Teresa Gimpera 

The Night of the Scorpion -- there's no explanation for the title -- takes a good while to build up any steam. The first murder doesn't occur for a full hour. The dubbed actors all seem more than competent, but when the action finally starts it occurs at a comically fast pace. We're asked to believe that Ruth would go down into a dark cellar by herself  right after she's found two corpses! The best scene is a violent and erotic fantasy of Sara's in which she murders Ruth and then has sex with her stepson. A dubbed Spanish-Italian co-production. 

Verdict:  Delightfully sick at times but ultimately third-rate. **1/2. 

THE KILLER IS ONE OF 13

Ramiro Oliveros and Patty Shepard

THE KILLER IS ONE OF 13 (aka El asesino esta entre los trece/1973). Director: Javier Aguirre.  

"They killed him savagely with a knitting needle."

Lisa (Patty Shepard) is convinced that her late husband, who played around on her and died in a plane crash -- he was the pilot -- was murdered. Apparently someone he knew paid a call on him and doctored his coffee just before his flight. Was revenge for his adulterous behavior -- a jealous husband or discarded mistress -- the motive, or did Lisa's husband know too much about illegal financial affairs? She invites all of the suspects to her rambling home in the country and confronts them. Then the murders begin ...

Paloma Cela and Simon Andreu

There are plenty of suspects for both the murder of Lisa's husband and of his assembled "friends:" Playboy Harry (Simon Andreu), who has a wandering eye, especially for married ladies; Francis (Eusebio Poncela), a creepy guy who can't keep his hands off women; his hateful, domineering mother, Bertha (Trini Alonso); grumpy Jorge (Alberto Fernandez), who may have had some unsavory business practices, and his horny wife (Paloma Cela), who is rejected by Harry. Then we mustn't forget the servants: the driver Ernest (Paul Naschy of A Dragonfly for Each Corpse), who's boffing maid Elena (Rosa de Alba), and handsome Harry (Ramiro Oliveros), who's boffing Lisa in addition to his other duties.

The Killer is One of 13 takes its time in getting there, and a good hour has gone by before the murders occur in rapid succession. This Spanish film is almost more of an Agatha Christie-type murder mystery than a horror film, but it's somewhat entertaining and fun on that level. Some of the sleazy characters and some more-than-adequate acting help put it over, and the ending is perfectly rational and satisfying, if not entirely unexpected. 

Verdict: More suspects than murders! **1/2. 

A DRAGONFLY FOR EACH CORPSE

Paul Naschy and Mariano Vidal Molina

A DRAGONFLY FOR EACH CORPSE (aka Una libelula para cada muerto/1975). Director: Leon Klimovsky. 

In Milan Inspector Paolo Scaparelli (Paul Naschy, who also co-wrote the screenplay) has been assigned to catch a serial killer who goes after people he believes to be immoral and always leaves a plastic dragonfly on top of each corpse. As the bodies pile up -- and there are quite a few -- Paolo's girlfriend, Silvana (Erkia Blanc of So Sweet ... So Perverse), thinks she's come up with an important clue, which he, unfortunately, dismisses. 

Erika Blanc with Naschy

Dragonfly is a Spanish imitation of an Italian giallo film and it's better than a lot of them. While Leon Klimovsky's direction doesn't have much style to it, the film does work up a lot of suspense, and has many flavorful aspects to it. Naschy, who many consider the King of Spanish horror films, is a unique and unusual-looking leading man. Angel Aranda of Planet of the Vampires is one of the suspects and Mariano Vidal Molina is Naschy's boss, the police commissioner. One odd thing is that the police never seem to try to find out where the plastic dragonflies were manufactured or sold. Otherwise, this is quite interesting.

 Verdict: Absorbing murder mystery from Spain. ***.  

HOUSE OF A THOUSAND DOLLS

George Nader, Martha Hyer and Vincent Price

HOUSE OF A THOUSAND DOLLS (aka House of 1000 Dolls/1967). Director: Jeremy Summers. 

Dr. Stephen Armstrong (George Nader of Sins of Jezebel) and his wife, Marie (Ann Smryner), are vacationing in Tangier when their friend, Fernando (Sancho Gracia), tells them that he's searching for his missing fiancee, Diane (Maria Rohm). Diane was last seen in Vienna where she was made to disappear by stage magician Manderville (Vincent Price) and his assistant, Rebecca (Martha Hyer of First Men in the Moon) -- and she was never seen again. Diane has been shanghaied to the House of 1000 Dolls, a house of prostitution where most of the kidnapped girls are forced to service wealthy clients and are mistreated by the staff, including Madame Viera (Yelena Samarina). When Fernando is found murdered, Stephen begins his own investigation, but he doesn't realize that this will cause a lot of trouble for himself and his wife ... 

Magician Manderville (right) checks out Dr. Armstrong

House of a Thousand Dolls, whose villains are truly loathsome, has a certain sinister atmosphere throughout and holds the attention, if for no other reason than you hope to see the bad guys get their comeuppance at the finish. Manderville, Rebecca, and the others report to a mysterious King of Hearts whose identity isn't revealed until the end. The actors are all professional, although Price -- probably contemplating which piece of art he will buy with his paycheck -- doesn't put himself out too much. Luis Rivera makes an impression as Fernando's sexy friend, Paul. For some reason Stephen is remarkably obnoxious to the police inspector (Wolfgang Kieling of Our Man in Jamaica) in the case, which seems foolish for someone who may need the man's help in the future. There's a fairly exciting chase scene with two desperadoes pursuing Stephen through a series of interesting locations (the film was actually shot mostly in Spain). Reportedly a racier version of the flick was shown in Europe. The villains in this don't really get the vicious fates they so richly deserve. 

Verdict: Minor but entertaining and smooth Euro-thriller. ***.  

THE FOURTH VICTIM

Carroll Baker and Michael Craig

THE FOURTH VICTIM (aka La ultima senora Anderson/1971). Director: Eugenio Martin.

After his third wife is found dead in the pool, Arthur Anderson (Michael Craig) is put on trial for murder. His first two wives also died in accidents, and Superintendent Dunphy (Jose Luis Lopez Vazquez) is convinced that Anderson killed all of them. But the jury doesn't agree, and Arthur enters into a new relationship with a woman named Julie (Carroll Baker). But Julie seems to be hiding a number of secrets which concern the owner of the crumbling estate next door. And did Julie herself commit a murder? Dr. Shephard (Manuel Gallardo) at a certain institution may have the answers if he lives long enough to give them ...

Michael Craig

A co-Spanish/Italian production, the low-budget Fourth Victim is chiefly of interest for the teaming of the two very attractive leads who both play with veracity despite the rather impossible nature of their roles. None of the characters, including the cop, are sympathetic, and a revelation late in the game, which should add to the film's suspense, seems to do just the opposite. A nominal giallo film, this could have used a few grisly murders but the movie instead tries to keep you guessing as to what is actually going on. The premise of the film is far-fetched but workable (and not that original), but the execution is fairly dismal. A really bad musical score doesn't help at all. Although she was past her Hollywood prime, Baker still looks gorgeous, and Craig remained handsome no matter how old he got. 

Verdict: Potboiler with good-looking leads and a convoluted screenplay. *1/2.