Blog Archives

Stagefright 1980 Review

Stagefright 1980

aka Nightmares

Directed by: John D. Lamond

Starring: Jenny Neumann, Gary Sweet, Peter Tulloch

Review by Luisito Joaquín González

Right, the last review that I posted was the wonderful Italian slasher Stagefright and so I thought in order to add 746747378387383983983some alphabetical structure to the blog, I would follow it up with its namesake from seven-years earlier.

I said before in my review of Small Town Massacre about producer Anthony Ginnane’s mission to put Australia on the horror map with his Ozploitation efforts of the early eighties. Well it came as a surprise to me that he wasn’t involved with this Sydney based production, although I’m sure he helped to lay nightmarescap02the groundwork for its release. Instead, it was developed and co-written by Colin Eggleton who would go on to direct the interesting Cassandra in 1986. The idea here was most definitely to jump on the express train to profit that Halloween had set in to motion and the references are plain enough for all to see. Despite not offering much in terms of authenticity, it is perhaps worth noting that this picture was the first to utilise a theater as a story location, which is something that would be reused in other entries as the genre flourished.

Stagefright or Nightmares as it is also known, has become somewhat of a rare beast and I don’t believe that it has 6467467378378387383made the transition to DVD or BlueRay yet. I have owned it on VHS for what feels like a lifetime, but funnily enough I’ve only attempted to watch it once.

So it begins with a typical ‘twenty years earlier’ prologue that cancels out any suspicion that this is not a Halloween rip-off. A young girl accidentally kills her randy mother in a car accident and then the credits roll. Move on up to the eighties and a group of actors are 74874874387383983893983983preparing for a stage show. Meanwhile it seems that a black-gloved assassin is working his way through the cast with a shard of glass. Who is the killer and what are his motives?

In the González household, we usually cook something really good during the weekend and then use the leftovers on Monday evening for a quickie dinner. It seems that no matter what we have, if you chuck it in to a frying pan with a few eggs and potatoes, it usually comes out really well. Stagefright is a similar exercise in juxtaposition and mixes moods that range from macabre horror to outright peculiarity. It’s an incredibly violent movie with a unique murder weapon. The killer always smashes the nearest window, mirror or glass object and then attacks with a large broken slice. We don’t get much more in gore effects than a splash of ketchup, but the film is incredibly explicit in that a large amount of victims are butchered whilst naked. By this I mean COMPLETELY naked. There’s a sex scene in an alleyway early on that pushes the boundaries for acceptability and there’s another gratuitous moment when the nut job chases a girl in her skin suit out in to the street. I am sure that if released back then in the United Kingdom, this probably would have been nightmarescropadded to the notorious DPP list in a heartbeat. You could even call it the video nasty that never was, but most definitely would have been.

The reason for the large amount of bare flesh is because the script takes the have sex and die rule and amplifies it by a billion watts. The cast are a particularly randy bunch and when not actually making out, they are usually sitting around and talking about doing it. One character even tries to bribe another in to the sack with the promise of a better review and all this activity unsettles our psycho killer and kicks him in to action. There are quite a few slaughters that are spaced frequently and at eighty-minutes, it’s too short to get bored. The fact that everything’s filmed in such an energetic fashion means that the mix of a frantic (and very good) score, unnerving screams and some wild photography blur in to something of a horror movie kaleidoscope. Director Lamond shows his inspirations by using countless Carpenter-esque heavy-breath killer-cam shots, which are great for stalking sequences. The thing is that most of 87587489489498393903the ones that he features don’t lead anywhere and therefore lack impact. Especially the pointless occasions that just show the psycho roaming around backstage. Yawn

The story is structured rather weirdly and pretty much tells us early on who the maniac is, but then utilises the Giallo style of just a black glove whenever he strikes. I was expecting some kind of mega twist or justification for the attempt at a mystery angle, but it looks like the writers may have had second thoughts about halfway through and altered the conclusion. This creates an obvious problem and it’s one that certainly leaves a crater in the delivery of the fear factor. You see, it’s very hard to build suspense when you have a menace that remains off-screen. Only maestros can deliver scares from an assailant that is nothing more than a hand holding a dagger. So why use that methodology if you’re not really hiding the identity of your bogeyman? It makes no sense. Add on top of this the fact that Eggleton seems to have edited the 7467474748738389398393negatives with a pair of nail clippers and what we’re left with is a feature that doesn’t even attempt to hide its technical amateurism.

Even if he may be an awful editor, as a writer, Eggeton excels himself and his hilarious dialogue and intriguing personas are brilliant. I’ve done quite a bit of theatre and can confirm that the featured characterisations are spot on. I once read that celebrities are some of the most non-confident people on the planet and the fact that they’re swimming in a pool of insecurities up on the world’s stage makes them self-centred and narcissistic. The script most definitely touches on that and it means that we can have fun watching them get slashed. And get slashed they do. EVERY single one of them. The 65747483838383performances may not be earth moving and there’s no one really to bond with, but it’s still enjoyable enough to watch.

Ok picture this scenario. You just read my review of Michele Soavi’s Stagefright and so you see the praise that I gave it and go online to buy it on DVD. The retailer makes a mistake and sends you this one instead of the aforementioned Italian classic. None the wiser, you 87478487483983983983place it your system and hit play. Would you be astounded that I praised it so highly and email me to complain? I would say that probably no. You would maybe question my sanity, but hey; you wouldn’t be the first to do so. My point is that this Australian stalk and slasher is no rancid test of viewing endurance. It’s just that it doesn’t really do enough to make itself stand out. Not a patch on the other entry that it shares a title with, but it will provide you with some cheesy thrills.

Serious collectors should give it a whirl, but don’t go expecting anything outstanding. I mean, it could result in you getting angry, breaking a mirror and chasing some naked bunny out on to the street. I don’t want to be responsible for that dear readers 😉

Slasher Trappings:

Killer Guise:


Final Girl: √√



Stagefright 1987 Review

Stagefright 1987

aka Sound Stage Massacre aka Bloody Bird aka Aquarius aka Deliria

Directed by: Michele Soavi

Starring: David Brandon, Barbara Cupisti, Mary Sellers

Review by Luisito Joaquín González

Easily one of the best slasher movies of all time, Stagefright is as close as you will get to a perfect juxtaposition of the trappings that had created their own specific sub-genre throughout the 25254252562652652652652seventies and eighties.

Born in 1957, seventeen-years after his idol Dario Argento, Michele Soavi experienced first-hand the golden period of the Italian Giallo in theatres. His love for these thrillers made-up his mind to move away from his mother and stepfather’s profession of art and he quickly developed a passion for cinema. After a chance meeting with the director who had inspired him, Soavi’s ambition impressed Argento so much that he took him under his wing and gave him the opportunity to be his second assistant on the 1982 hit, Tenebrae. Lamberto Bava, who had also worked on that picture and shared the belief in Michele’s ability, went on to hire him for a similar position on A Blade in the Dark. For the next few years, Soavi continued to build his knowledge by accepting roles either within crews or as an actor until he finally had the confidence and the opportunity to shoot his own feature.5254254252652652265265

By 1987, the slasher genre, which was unarguably an Americanisation of the Giallo, was no longer only an enemy of critics but a failure with audiences too. This was the case almost everywhere except for Southern Europe, where there remained strong interest and popularity at box offices and on VHS. Soavi had been expected to shoot his début in the style that he had not only grown up with, but worked upon; however he surprisingly chose to create an effort that owed much more to Halloween than it did Blood and Black Lace. Stagefright delivers no mystery as to who is the movie’s antagonist and instead we are given a real bogeyman that much like Michael Myers has no motive outside of a lust for violent murder. The thing that perhaps separates this from almost all of its colleagues from that period is that it’s shot with the panache found more predominantly in European efforts and is by far the best crossbreed of those visions. The filmmaking heritage of the man in the hot seat means that the combination feels natural and takes the best of both methodologies to make an entry that succeeds on every possible level.

A group of amateur stage actors are rehearsing for a production of an ambitious musical. The director is frustrated that his cast are so far behind and one of the financiers is getting hot under the 5354354235235425425425465232collar with the lacklustre effort from the people he has hired. That all changes however when one of them turns up dead in the car park outside; brutally murdered. The Police arrive and it is believed that the maniac has taken off into the night. After heavy persuasion, the actors decide to stay and continue with their preparation knowing that the events will bring people from far and wide with morbid curiosities. Before long there’s another murder and they realise that they are now locked in the theatre with the killer. How will they survive until morning?

Being that I have worked in sales for over ten years, I have been on many courses and learned from lots of different professionals. I have picked up a great deal of advice, but one of the most prominent messages that has stayed with me is ‘treat everyday like it’s your first.’ When you initially join a new company, you are brimming with motivation to prove that your boss has made the right decision in hiring you. You don’t take five minutes to check Twitter at lunch time and you can’t stop typing and hitting the phone. Soavi, as a first time 6535354354254245254254252director shows that he has that same bug for exuberance and every shot feels like it comes from a filmmaker who is absolutely brimming with flair and innovation.

Stagefright is a wonderful blend of stylish imagery and energetic ideas and it is this abundance of mastery that makes it an adept example of bringing the best out of an overused formula. Due to some well-thought out scripting, intriguing personas and witty dialogue, you can enjoy the moments when the killer is not on-screen almost as much as when he begins stalking. There are various notions explored that viewers can relate to, including each of the characters being broke and desperate for money, especially the young couple who discover that they are about to be parents for the first time. David Brandon is absolutely outstanding as the vainglorious and cowardly director and the players are split between those you immediately dislike and the few that you hope will survive. Mary Sellers’ Laurel is a great demonstration of a horrible personality and even 6536536536532653563653653with her final breath she illustrates a trait of selfishness that you will come across only too often in reality. I can’t think of any scene more symbolic than when David Brandon’s aforementioned director mistakes the real psychopath for an actor that sports the same disguise and eggs him on during a rehearsal with lines like, ‘Go on, kill her!’ as the maniac lingers close to a female member of the crew. He then realises far too late that he has just rooted for the slaughter of one of his colleagues. This results in another great twist when Brandon’s character comes across what he thinks to be the nut job sitting in the attic. I won’t ruin what happens, but the film is riddled with a large amount of false shocks and rule bending.

In fact it’s the knowledge of the genre’s typical values that allows Soavi to experiment so wildly. Even though this is by no means a parody, it does enjoy realigning your expectations and catching you out with its off-key hop-scotching through what you think that you know will happen. I like the way that the victims, upon realising that they are 54254235425425425424525422locked in with the psycho, decide to grab some weapons and fight back. The screenplay handles all the emotions you can imagine that there would be, including paranoia, fear, anxiety and panic. Even though some bonds are built between the characters, they are quickly broken if they find a chance to push the person next to them ahead in the queue to be slaughtered and the final girl only gets that opportunity because she is knocked unconscious by one of the people who is fleeing alongside her. This flaw in human nature seems to be something that Soavi has much interest in and there’s another sequence where the survivors begin violently shaking a girl who is bleeding to death because she knows where a hidden key is located. It’s an intriguing comment on how high some people value themselves over the lives of others. There are few heroes here, which to be fair seems much closer to the true nature of mankind than Hollywood would like us to believe.

The photography is marvellous and is only bettered by a great use of sound. It is more than a gimick that the killer is stalking a musical, because Soavi attempts successfully to use his fantastic 6535635636523652672672accompaniment to assist in the delivery of the change of moods from scene to scene. Included are some smart opportunities for suspense and a handful of very good jump scares and the owl mask starts out almost comically, but seems to get creepier as it gets more splattered with blood. I can’t think of many better postcards of the slasher craze than the shot of the killer listening to classical music in an armchair on the stage with a black cat on his lap and the corpses of all of his prey lying around him like trophies. It’s so good that it’s almost artistic. The film is filled with enough blood to satisfy gore fans and the killer works with almost all the most notorious tools including, an axe (Friday the 87487487387387387387387387313th), chainsaw (Pieces), drill, (Pranks), pick-axe (My Bloody Valentine) and every psychopath’s favourite, the bread-knife (Almost every slasher movie ever). Upon consideration, Stagefright could well be just a collection of elements from the following features: Whodunit? (the sleazy producer), House of Death (gut ripping scene), Halloween (the escape), Tenebrae (the ‘look who’s behind you’ trick) and Demons (the location). Then again, maybe it’s just a coincidence.

As you can probably tell, I’m a big fan of Michele Soavi’s stalk and slash effort. Even if he never became anywhere near as prolific as his contemporaries, he kept the quality levels high throughout his following filmography. This is by far my favourite of his work and I believe that you will rarely find a better genre movie. It has everything from moments of extreme creepiness (like when the killer and final girl come face to face for the first time) to hilarious dialogue (some of the one-liners are electric). Put it this way, style like this doesn’t come around very often. Not very often at all…

Slasher Trappings:

Killer Guise:√√√√


Final Girl: √√√