THE FLESH AND BLOOD SHOW (1972)
Directed by Pete Walker
Media Blasters DVD
THE FILM
Pete, you've established the cushion. So where's the pushin'?
UK agitator Pete Walker made horror films which pump the blood. After a slew of hooky 1960s softcore romps, creeps became P.W.'s stock and trade. Combining social angst with stylized exploitation, Walker sought to uproot the stuffy state of British horror. This led to a string of benchmark 1970s shockers, which hit a zenith with the House Of Whipcord-Frightmare-The Confessional mid-70s triptych. Got it?
This is The Flesh And Blood Show, Walker's full-on horror debut. It immediately followed the director's biggest, sexiest 3-D hit, The Four Dimensions Of Greta. Therefore, confidence, urgency, and attitude were in high supply. So were enormous breasts. The Flesh And Blood Show was poised for greatness, as if to taunt, "If you want it, here it is. Come and get it." I wanted it. I came to get it. I soon cooed back, "Make your mind up fast." The film refused to listen.
Jane, Mike, Carol, Tony, Angela, Simon, and Ferd (just kidding) are rehearsing some kind of terrible performance art in a decrepit, abandoned theater down by the docks. It's cold and the weather is constantly overcast -- two elements which naturally induce sex, lesbian petting, nudity, and yes, a mad Othello killer. Throw in a few mannequins, a practical joker, and disturbing black and white flashbacks involving a little kid and something she shouldn't be seeing. Then, remember that all actors are "SCUM EXCREMENT!" and workplace sexual relations are never a good idea. And there you almost have it.
Steve Chibnall's terrific Making Mischief: The Cult Films of Pete Walker devotes several pages to exploring the psychological layers of The Flesh And Blood Show. I don't see it. Skimming Walker's later knack for social cynicism, but displaying technical traits that would come to define his work, this film is a stark baby step with stunning locations, loads of nudity, moments of genuine fright, and a riveting, partly 3-D climax. No more, no less. The on/off play between reality and theatrical displacement fills up space, but not enough. That's the big pitfall. Juicy elements point towards a sure thing, but the film is content with jogging in place for a majority of its runtime. As a result, all of the warped-yet-tame violence, mysterious occurrences, and entertaining smut monologues get filed for use at a later date -- which would be 1974's Frightmare.
I've always wanted Day For Night on trash-horror terms. The House Of Seven Corpses kind of blew it. The Flesh And Blood Show didn't get much closer. What was that about a fool and his money?
AUDIO AND VIDEO
Previously available from Something Weird on DVD-R after wallowing for years as VHS dreg, The Flesh And Blood Show now makes for a solid DVD. The anamorphic widescreen presentation is nice and grainy, a little flat, and touched with an average amount of dirt and rips. No pixellation is evident, which is always a plus. The original mono soundtrack was left intact as well.
EXTRAS
Short, but only kinda sweet. The "Interview With Pete Walker" (12 minutes) sounded interesting enough ("My films rubbed a lot of people the wrong way."), but my DVD kept freezing every 30 seconds. From what I did see, it was nice to witness Mr. Walker relaxing in a bermuda shirt on the beach.
Also included is a brief image gallery (VHS cover, press book, and behind the scenes photos), a great trailer for the feature, and five additional trailers for Pete Walker films; The Comeback, Frightmare, Die Screaming Marianne, The Confessional, and House Of Whipcord. No Schizo, though.
FINAL THOUGHTS
Pete freaks take heed. The Flesh And Blood Show has a lot going for it. Unfortunately, gradual sabotage keeps the film from rising to the top of Walker's golden legacy. Worth seeing once, but nostalgic repeats are unlikely. Even for P.W. aficionados.
— Joseph A. Ziemba, 11.24.10 |
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