Friday, December 2, 2016

Das indische Tuch / The Indian Scarf (Germany, 1963)


Without a doubt, Das indische Tuch aka The Indian Scarf is one of our all time favorite Edgar Wallace films either produced by Horst Wendlendt's production company Rialto Films or directed by Alfred Vohrer (the latter of whom, as one of the series's most-regular directors, made a lot of Wallace films, including some of the series's worst).
Like all the Edgar Wallace films up until Der Bücklige von Soho (1966 / German trailer), Das indische Tuch was filmed in black and white, and like some of the better Wallace films preceding it, Das indische Tuch occasionally owes as much to cheap B&W crime films as it does to the classic Expressionistic silent films of UFA Germany — not least, in part, due to the fact that it such an obviously studio-bound production with no real exterior or on-location shots. (But whereas UFA was art, Rialto was cheap entertainment.)

The artificiality of the set is particularly noticeable during the opening pre-credit sequence (leading-up to the ever-familiar and loved gunshots and voice intoning (in German) "Edgar Wallace speaking…") in which three characters are introduced and a forth, Lord Lebanon (Wilhelm Vorwerg — in the first of his only known five un-credited acting appearances, all in Rialto Wallace films), is murdered. This brief but visually intriguing prologue recalls much more the directorial style of the German master Paul Leni in our all-time favorite movie, The Cat and the Canary (1927 / full film), than it does resemble the average Vohrer film.

But then, this, the third film version to be made since 1932 of Edgar Wallace's 24th and last play, The Case of the Frightened Lady,* which he also later novelized, follows the basic structure of Leni's film much more than it does the actual original source as written by Edgar Wallace — as do many another film built around the classic idea of a group of people trapped in a house being killed one by one by an unknown aggressor.
The most famous rendering of this idea is probably And Then There Were None (1945 / trailer), the film production of Agatha Christie's novel and play Ten Little Niggers, which was later renamed Ten Little Indians for later remakes and book reprints. [A recent news report from the liberal press says that Trump has stipulated that one of his first presidential actions will be to make sure all future reprints bear the original name.] That play / novel / film was, of course, inspired by Mary Roberts Rinehart and Avery Hopwood's play The Bat, which also enjoyed multiple versions: The Bat (1926 / full film, with an indiscriminate classical score added), The Bat Whispers (1930 / full film) and The Bat (1959 / trailer). But no matter what source or model Das indische Tuch follows most closely, Vorher's film is an entertaining, highly suspenseful and blackly humorous movie featuring a love of detail and more than a handful of throwaway jokes, both visual and verbal — not to mention a hell of a body count.

Much of the humor in this movie is supplied, as normal, by Eddie Arndt as the Butler Bonwit, but unlike much too often, Arndt's delivery this time around is extremely wry and done in passing, with the final result that he is indeed consistently funny for a change, rather than simply being the out-of-place annoyance that he is in many Wallace films. (Love that scene when, after lifting the dead Dr. Amersham's face from the plate it fell on to, Bonwit quickly and casually flips a shard of broken plate from the dead man's forehead with his finger.)

As mentioned earlier, Das indische Tuch opens with the murder of Lord Lebanon, who is strangled to death with an Indian scarf while his wife Lady Lebanon (the brilliant Elisabeth Flickenschildt, excelling as always in this, the second of her four appearances in Wallace films) is busy arguing with the shady Dr. Amersham (Richard Häussler) and his high-strung son Lord Lebanon jr. (Hans Clarin of Wartezimmer zum Jenseits [1964 / German trailer] and Das Spukschloß im Spessart [1960 / opening credits]) is busy practicing the piano in preparation for his future public début. Soon, the six heirs to the Lebanon fortune, none of whom can seemingly stand the other, are called together for the reading of the will by the lawyer Frank Tanner (Heinz Drache of Der Rächer [1960]). A "pre-testament" stipulates that they all must reside in the house for six days and six nights before the actual testament itself is read, and that those who do not remain there lose any chance of an inheritance at all.

And so the thunder storm rolls in, and it becomes a dark and stormy night, and the phone lines go dead, and the heirs are suddenly cut off from the rest of the world — and the next murder occurs! (Surprise?) Tensions mount amongst the survivors, as anybody might be murdered and anyone might be the murderer — including Tanner, who tries unsuccessfully to solve the mystery but always remains one dead body behind the murderer. Could it be Sir Hockbridge (the ever excellent Siegried Schürenberg), whose personable humor for a change masks a greedy soul? Or what about the simpleminded handyman Chiko (one-time professional wrestler Ady Berber, born Adolf Berber, of Die Tür mit den 7 Schlössern [1962 / German trailer], who died of a tumor in 1966)? Is it the condescending and son-obsessed Lady Lebanon? What about Lord Lebanon jr., who continually locks himself in his room to play the piano? Or what about the emotional, violent and seemingly heroin-addicted, illegitimately born Peter Ross (Klaus Kinski)? Is the (actually not so) beautiful Isla Harris (Corny Collins) not to be suspected just because she is a woman? And who is to say that Tanner himself isn't mentioned in the will and is trying to keep the entire inheritance to himself? Yep, red herrings and victims abound!

The fat guy above, by the way, plays the obnoxious American relative from Texas. He looks the part, doesn't he? (Not!) He doesn't inherit a cent, in the end.  
In the long run it isn't all that hard to figure out who the murderer is in Das Indische Tuch, but it is not the mystery that makes the film so good, so much fun — in fact, it is doubtful that anyone involved with the actual production of the movie really placed any importance on the mystery itself. True, the mystery does do its job for the first half of the film, but as a whole it is much more the often over-the-top characterization, the first-rate ensemble acting, the nicely atmospheric direction, the abundance of black humor, and the numerous sight gags that makes the movie so much fun to watch again and again. (And considering that the murderer always uses the same tool of death — the Indian scarf — two or three of the deaths are also nonetheless rather visually individual.)

One minor complaint is that as good as Das Indische Tuch is, the music this time around is rather bland, despite coming from the contemporary German master of unnaturally odd musical compositions, the great Peter Thomas. He must have had a bad day at home or something…
As is normal with the Edgar Wallace films of the time, Das indische Tuch ends with a typically self-referential joke, but unlike normal, the joke is so unexpected that it actually works. Still, one can only be happy that this regular feature in the Rialto produced Wallace films eventually was dropped.
* The Case of the Frightened Lady was adapted for feature film release twice previously, both times in Great Britain. The 1932 version, The Frightened Lady aka Criminal at Large, was directed by T. Hayes Hunter (1 Dec 1884 14 April 1944), a man best remembered — if at all — for the early British horror classic, the once-thought-lost Boris Karloff vehicle, The Ghoul (1933 / a trailer / full film). The 1940 version was directed by George King (1899 26 June 1966), the director of many a Tom Slaughter film, including Sweeney Todd, The Demon Barber of Fleet Street (1936). Of all film versions, The Indian Scarf deviates the most from its original source.
For your viewing pleasure —
George King's version of
The Case of the Frightened Lady (1940):
 


Saturday, November 26, 2016

Short Film: She Decided Enough is Enough (India, 2015 [?])

A Wasted Life goes Bollywood — but without the song and dance. Our Short Film of the Month for November 2016 was written by Anamik Thakur, and directed by Sanjay Mathew. There was a Sanjay Mathew playing Sanjay Gandhi somewhere in The Royal Tenenbaums (2001 / trailer), but we aren't sure it its the same Sanjay Mathew.
OK, we don't know much about this short, which we stumbled upon totally by accident. On one level, it is a third or fourth cousin to I Spit on Your Grave (original: 1978 / trailer & remake: 2010 / trailer) and any number of films in which the woman has finally been pushed over the edge by the patriarchal and innately misogynistic nature of many a society — including ours. Yep, you don't have to be an angry white man to feel yourself losing to those you see as inferior (when, in fact, it's you who are inferior). Lot's of men everywhere feel like the US American angry white man (in short: loser) — in India, too. But watch out, loser, if you push those better than you too far, one day they might bite back. (We wish.)
The blog Travel is among the few who have seen this Hindu short film, and as they say: "She Decided Enough Is Enough is blaring and stares right in your face. It has no subtle scenes or sugar coated dialogues. It questions 'Why don't women speak up at the right moment?' They don't because they are fearful of the circumstances. They are scared that if they speak, it would create havoc in their life and that of the people around them. So they shut up and endure all the humiliation. But, this story is about Tanu (Manisha Kelkar), who dares to speak. What then are the consequences? Hell breaks over. [...] This is a story about a woman who is fiercely independent and stands up against the tyranny of men who think women are nothing but sex toys, and are to be used to get ahead in life. There are men who don’t like successful women and would do anything to pull them down, insult them and assault them. Tanu raises her voice but, what does she get in return? Nothing. She loses everything. This is how our society is, it never favours women."
Subtle, the movie is not — nor, for that matter, is it really all that bloody — but it is angry and wants to be heard. (That sure won't happen. To paraphrase Mark Twain, history might not repeat itself, but it sure does rhyme a lot) And in the end, as virtually all countries share the flaw that only women can lose their honor and not men, the anger is justified.


To paraphrase Mark Twain, history might not repeat itself, but it sure does rhyme a lot.

Saturday, November 19, 2016

Herschell Gordon Lewis – Godfather Of Gore, Part III: 1964-66


15 June 1929 — 26 Sept 2016

"He seen somethin' different. And he done it."

A seminal force in the world of trash filmmaking, he is considered the inventor of the modern gore film. (In theory, a position he holds with David F. Friedman, but when the partnership ended Friedman's true interest proved to be sexploitation.) To use Lewis's own, favorite and famous words: "I've often compared Blood Feast (1963) to a Walt Whitman poem; it's no good, but it was the first of its kind." And a truly fun gore film, too — which makes it "good" in our view.
Unlike Blood Feast (See: Part II) and his "better movies", many of the projects Lewis worked on are unbearable cinematic experiences; but more than enough of the others are sublime, otherworldly, like the best of Ed Wood, Juan Piquer Simón, or John Waters (the last, however, being a filmmaker of actual talent). Were it not for innovators like Lewis, A Wasted Life probably wouldn't be.
One of the truly great has left the building. A career review will follow — but first, a few films that may or may not have something to do with the Godfather of Gore.


Go here for Part I 
Go here for Part II



Two Thousand Maniacs
(1964, writ & dir Herschell Gordon Lewis)
 
Lewis writes and directs and does the cinematography and David F. Friedman produces their second gore movie, and together they create perhaps their best movie as a duo, a splatter hixploitation take on Brigadoon (1954 / trailer). And while David F. Friedman arguably went on to produce better movies later, one could also argue that Lewis was never this "good" again. For, despite featuring all the normal Lewis attributes — bad acting, crummy editing, sloppy cinematography, basic lack of any technical finesse — the movie is still an effective and humorous horror film. An amazing feat, if you get down to it.
Like Blood Feast (See: Part II), 2000 Maniacs! features both his regular lead actor William Kerwin (17 April 1927 — 27 October 1989, billed here as "Thomas Wood") as well as Kerwin's later wife, Playboy Playmate Connie Mason, whom Lewis famously found extremely untalented.
Trailer to
2000 Maniacs:
Over at the Worldwide Celluloid Massacre, Zev Toledano points out that when it comes to Lewis films, "Despite the obvious fakeness of his low-budget gore effects, they were shockingly extreme, imaginative, and wrapped in campy & dumb horror fun that demanded not to be taken seriously. […] [Two Thousand Maniacs!] features bad acting, campy horror, and splatter involving a barrel full of nails, a boulder, an axe, and the quartering of a man with horses."
Two Thousand Maniacs! was filmed in the little town of Saint Cloud, Florida, which, ironically enough considering the movie's plot, was originally founded as a retirement community for Civil War Unionist veterans. As is often pointed out, this film is one of the earliest to introduce the concept of the kill-happy, rural, Southern redneck verses Northerners and/or city folk. As Not Coming to a Theater Near You explains: "[As] a film that posits that the South is still so angry, 100 years after the Civil War (excuse me — War Between the States), that its citizens desire nothing more than to exact painful and humiliating revenge on any and all Yankees who happen to wander their way, Maniacs is a gleefully absurd and vicious social satire […] in the guise of an intensely gory horror film. The rednecks of Pleasant Valley, Georgia, are so hell-bent on killing the tourists they have lured to their town, yet they have so much fun doing it, that it is hard not to want them to succeed. The Yankees in the film are such drips anyway […] that one begins to take delight in the inventive methods of demise the rednecks think up for them."
To which Eat My Brains might add "It's a simple concept, but one that works terrifically well, especially as the tension mounts as each townsfolk member seems to be as deranged as the next one, from the sultry seductress (Linda Cochran) to the boy (Vincent Santo) who is obsessed with candy. The acting is pretty much universally terrible, but a lot of the amateur townsfolk have such an exuberance to their performance, you can't help be buoyed along with bustle. Particular mention must go to the Pleasant Valley Boys — a band of wandering musicians (well, two at least) who pepper the film with many moments of 'yee haa' Country-and-Western music. In fact, if their title tune doesn't get your toe tapping ('Yeeeeeyeehaaa – the South's gonna rise again!') you're clearly as dead as the inhabitants of Pleasant Valley themselves."
Mayor Buckman is played by Taalkeus "Talky" Blank (b. 1910 — d. 1991), an Illinois stage actor, credited as "Jeffery Allen" here in his feature-film début; Lewis subsequently often hired Blank to appear in many of his later films, including Moonshine Mountain (1964), This Stuff'll Kill Ya! (1971), and Year of the Yahoo! (1972).
The comic book Harper is reading in the hotel is Heart Throbs, issue 87, cover dated January 1964.
The South's Gonna Rise Again:



Moonshine Mountain
(1964, dir. Herschell Gordon Lewis)

"This is the place where white lightnin' flows jes' like water 'n your life ain't worth a plugged nickel if'n you wear a badge!"

Aka White Trash on Moonshine Mountain and Inbred Trump Voters from West Virginia. The vagaries of exploitation productions: Moonshine Mountain was Lewis's first solo production after the business relationship between him and David F. Friedman had soured and ended, but it was released before the third and final offering of their unofficial "Blood Trilogy", Color Me Blood Red, which was released the following year (1965). In theory, Charles Glore, who plays the lead character in this movie (using the pseudonym "Chuck Scott"), supposedly wrote the script to Mountain, but Lewis was always such a renaissance man we wouldn't be surprised if he had his finger in that pie, too. Heck, he even wrote and sang some the music in the movie, like the song Love That White Lightin', performed by (Herschell Gordon Lewis and) The Catalinas.
White Lightnin'
(from Moonshine Mountain):
Something Weird is of the opinion that "The first film made by Herschell Gordon Lewis after he split with partner David F. Friedman, Moonshine Mountain was shot in the hills of South Carolina. But what was supposed to be a family comedy ('A Rip-Roarin' Screenload of Cornball Action and Excitement!') actually comes off as something far more sinister and disturbing than Lewis' infamous redneck classic, Two Thousand Maniacs!" (Lewis later admitted that he regretted adding the two gory scenes as they weren't really appropriate for the audience for which the film aimed.) 
TCM has a somewhat off the mark plot description, but it's close enough: "Doug Martin (Charles Glore), a successful country-western singer, returns to the Carolina hills with the hope of restoring a country twang to his 'citified' voice. Accompanied by his socialite fiancée, Della Lawrence (Marilyn Walters), Doug takes part in folk-singing parties and meets the Carpenters, the Bashams, and Sheriff Asa Potter (Gordon Oas-Heim, 16 Sept 1926 — 5 June 2015), who together run a still which supplies the surrounding area with moonshine. Doug flirts with Laura Carpenter (Bonnie Hinson), a college student who is home on vacation, and Della, jealous of Doug's new interest, decides to leave, but on the way to the airport, Sheriff Potter stops her and forces her to follow him to a secluded pond. When she laughs at his clumsy advances, he kills her. Aided by the ape-like Luther Basham (Harry Hoffman), Potter then murders several federal agents and throws their bodies into the bubbling still. Doug discovers the sheriff's evil deeds and asks the Carpenters and the Bashams to help capture him. When Potter convinces Luther to dynamite the entire community, Luther bungles the job, and Potter shoots him to save his own life. Meanwhile, Mary Lou (Gretchen Eisner), Laura's retarded sister whom Potter once raped, arrives and kills the sheriff with an ax as the still explodes. After marrying Laura, Doug returns to the city with his bride, while the two families begin to rebuild the still."
Trailer to
Moonshine Mountain:
Fantastic Movie Musings and Ramblings, which calls the movie "extremely marginal" and says "the story is pretty bad, the acting is poor and the sound quality stinks", nevertheless gushes: "Still, there's something likeable about his movies and Lewis isn't without talent. For one thing, he has a nice ear for country music [...]. He also has a sense of humor that occasionally clicks; check out the hilarious beginning and ending credits in hillbilly lingo [...] and an amusing moment involving sound and a hangover. He also is capable of clever shots on occasion [...]. All in all, it helps to make his movies fairly watchable."
Interesting trivia about the "thespians" that took part: Gordon Oas-Heim later appeared in Andy Warhol's Bad (1977 / trailer). Credited in Moonshine Mountain as "Adam Sorg", in Color Me Blood Red Oas-Heim played the character named "Adam Sorg" (credited as "Don Joseph"). Marilyn Walters' only other screen credit we could find is "actress" in the literately titled flick The Spy Who Came (1969 / trailer). The character Hutto is played by "Pat Patterson", otherwise known as the sleazemonger J.G. Patterson Jr., who later wrote and directed The Body Shop (1972 / trailer), among other notable splattery Z-films.



Monster a Go-Go
(1965, dir. Bill Rebane & Herschell Gordon Lewis [uncredited])
Once Moonshine Mountain was in the can, Lewis was in need of a second feature to round out the bill. He stumbled upon an unfinished science-fiction movie by future regional exploitation filmmaker Bill Rebane, who had stopped filming his first and then still unfinished disasterpiece Terror at Halfday in 1961. "Taking what Rebane had already shot — mainly scenes of a tall guy in a shiny spacesuit, with oatmeal on his face — Lewis added a poppy theme song, sets approximating labs and police stations, long takes of actors speculating about what's going on, and a sonorous narrator to explain the action [The AV Club]." The result, Monster a Go-Go, is pretty much universally seen as one of the worst movies ever made — although "thrown together" probably applies better to the production process of the final product. The plot revolves around an astronaut, Frank Douglas (Henry Hite), who returns to earth as a mute, homicidal giant with a severe case of acne.
Trailer to
 Monster a Go-Go:
Uranium Cafe says, "The film then becomes a story of a radiation mutated astronaut — like Frankenstein Meets the Space Monster (1965 / trailer) — who wanders the countryside and city terrorizing sunbathing girls in bikinis and murdering making-out teenagers in parked cars. The story line is so disconnected and incoherent that I can hardly review what happened in any linear fashion. Characters are introduced and then vanish from the story without explanation. The narration adds to the confusion rather than clears anything up. At some point the monster has been said to have been captured and is kept in a laboratory, but we never see the monster even as a scientist goes into to study it. He goes in and comes out and reports to his associate his findings. I was really confused by this sequence. Later we are told the monster escapes from the lab but again we never see anything happen. The classically weird ending has the monster — who we have accepted is Frank Douglas from the film's beginning — being chased in underground sewers only to have the hazmat-clad pursuers come to surface to receive a telegram that the real Frank Douglas is thousands of miles away in fine health. What the hell!"
The screen monster, Henry Hite (7 ft 6¾ in ), born Henry Marion Mullens (1 May 1915 — 26 May 1978), was originally part of a vaudeville act called "Lowe, Hite and Stanley" with 'Lowe' (Roland Picaro [3 June 1901 — 27 Jan 1998]) and the vertically challenged Stanley Ross (1910 — 19 Dec 1961). The trio even appeared on screen together in Leigh Jason's forgotten movie New Faces of 1937. Low and Hite died in poverty, dunno about Stanley.
Lowe, Hite and Stanley:
Among those lost in the movie is former (and forgotten) B-movie actress June Travis (7 Aug 1914 14 April 2008) as Ruth June Travis, one of many who disappear midway through the film; she is the sister or wife or girlfriend or something to Frank Douglas. According to legend, Ronald Reagan almost got attached to the project, but the budget didn't permit an expensive has-been of his stature.
Director Bill Rebane, who was awarded the Wisconsin Filmmaker 'Lifetime Achievement Award' at the 2009 Madison Horror Film Festival, and has yet to make a movie about Ed Gein. Rebane's has numerous other projects of sublime note to his resume, including among others The Giant Spider Invasion (1975 / trailer), The Alpha Incident (1978 / scene), The Demons of Ludlow (1983 / scene), and — starring the great Tiny Tim! — Blood Harvest (1988 / first 45 min).
Tiny Tim
singing (?)
Do You Think I'm Sexy?



Color Me Blood Red
(1965, writ & dir Herschell G. Lewis)
Aka Model Massacre, somewhere, maybe. The vagaries of exploitation productions: Moonshine Mountain may have been Lewis's first solo production after the business relationship between him and David F. Friedman had soured and ended, but their final production, Color Me Blood Red, the generally unloved third film of their "Blood Trilogy", was released a year later (1965). Though filmed and completed in early 1964 in sunny Sarasota, Florida, it got held up by legal issues after producer David F. Friedman terminated his business relationship with Herschell Gordon Lewis.Among the most common complaints of the least-liked film of the unofficial "Blood Trilogy": not enough blood and gore — though ya gotta admit, the intestines scene is pretty OK.
Inspired by the more enjoyable Roger Corman horror comedy Bucket of Blood (1959 / trailer), Lewis's take on the crazed-artist-kills-for-his-art plot makes Corman look like a master director … which he was, in a way. Thirty years later, in 1995, T.L. Lankford used Color Me Blood Red as the inspiration for his directorial début Fatal Passion aka Portrait in Red (an NSFW edit of Lisa Crenshaw's love pillows from the movie) and was so amazed by his own film that he used a pseudonym, "Gib T. Oidi", an anagram for "Big Idiot", for the directorial credit. Did he, like Lewis, overlook the fact that when blood dries, it turns brown?
Trailer to
Color Me Blood Red:
Color Me Blood Red actually inspired Sex Gore Mutants to posit the sacrilegious but sometimes oddly justifiable query, "Do people actually like Herschell Gordon Lewis movies?" They also supply the plot: "The story, for anyone still interested, concerns an artist, Adam Sorg, (Gordon Oas-Heim) struggling to find the perfect colour of red, and it doesn't take a genius to figure out where he eventually finds the right tone of colour. Despite some admittedly funny moments (intentionally or otherwise) like a girl's body being dug up from a beach to have on the of the onlookers remark 'This is crazy driftwood', and the fact that painter Sorg has the artistic prowess of Stevie Wonder with his arms amputated, how anyone can enjoy this garbage is beyond me."
His wanna-be final victim, Candi Conder as April Carter, above, fills her cover-that-belly-button bikini rather nicely, doesn't she?
Whoever did the actual paintings, a few of which we find rather groovy (at least until they're smeared with red), has remained unknown over the ages. Anyone know?



Sin, Suffer and Repent
(1965, dir. Herschell G. Lewis) 

"This film is believed lost. Please check your attic."

In A Taste of Blood: The Films of Herschell Gordon Lewis, Christopher Curry writes: "Sin, Suffer and Repent is a wonderfully titled propaganda picture that HGL bought and modified as he had done with Monster a Go-Go. The film was originally a venereal disease (informational) reel. Lewis, knowing this was old hat, redefined the film through new narrative and re-editing. Magically, his genius transformed the picture's plot from infection to out-of-wedlock pregnancy. This was old hat, too, but inserting actual footage of childbirth was not. The former British road show, released in 1965, was converted to a grindhouse regular." None of the images here are from the movie; it would seem no press or publicity materials to the film still exist.
Theater of Guts has more info, straight from the horse's mouth, so to speak: "Sin, Suffer and Repent was owned by a guy named Jim Somebody out of Toledo, Ohio, and he was an old time exploitation film man. He had picked up a British film — the title of which is lost in obscurity — on venereal disease, and reached a point where he couldn't get it played anymore. It wasn't a badly made film, but it didn't make sense; it was a World War II-vintage kind of picture. And he came to me [HGL] and he said, 'Let's change this into a birth-of-a-baby film', and that is exactly what we did by judicious cutting, by shooting some hospital scenes and by removing some dialogue, sticking in some dialogue, over-dubbing other dialogue and sticking in a birth scene (chuckles). And that's all there was to that, and he had a very playable picture and he made a lot of money out of it."
In other words, Sin, Suffer and Repent was a movie made after the good ol' roadshow tradition of Howard W. "Kroger" Babb's (30 Dec 1906 — 28 Jan 1980) Mom and Dad (1945) — a version of which entered the National Film Registry in 2005.
A Version of
Mom and Dad (1945):



An Eye for an Eye
(1965, writ. & dir. Herschell G. Lewis)

"This film is believed lost. Please check your attic."

Often mistaken for Michael D. Moore's 1966 Western also entitled An Eye for an Eye (full movie) — poster above — but no: it is a totally different movie. Lewis's An Eye for an Eye starred Lewis's main leading man, good ol' William Kerwin (17 April 1927 — 27 Oct 1989), but seems never to have been released.
In Randy Palmer's Herschell Gordon Lewis, Godfather of Gore, HGL himself explains the plot: "It was about a man who wills his eyes to whoever can get them. It turns out that his eyes have special powers. He was actually part of a group that planned to take over the world, and his only way of getting out was to kill himself in an automobile crash and have his eyes go to somebody else who might then be able to break up this unholy ring."
At Theater of Guts, HGL explains what happened to the movie: "We sold that thing to Abbott Schwartz out of Minneapolis who moved it out of our cutting room, almost in a matter of an hour from the time the deal was made. That picture was in the middle of cutting, and that's the last I saw of any of it — footage, anything. And from that moment to now, I have no idea where the negative is, if the cutting was finished, if prints were made or what; I don't know."
Chuck Norris also did
a movie entitled
An Eye for An Eye (1986):



Jimmy, the Boy Wonder
(1966, dir. Herschell G. Lewis)
Aka Jimmy, the Wonder Boy. As everyone knows, you can make money from kids, too. Thus, it is hardly surprising that Lewis also eventually turned to cheap kiddy films — though the directional change was not an artistic choice: Lewis was a director for hire on this movie. (One wonders: Did Lewis ever actually make an "artistic choice" when producing his movies?) This was his first of two kiddy flicks, neither one of which is known for being any good. 
Jimmy, the Wonder Boy was written by "Hal Berg", and shot entirely in Florida in and around Coral Gables. It would seem that virtually no one that took part in this project ever made another movie — a fate shared by many that worked with HGL.
Trailer to
Jimmy the Wonder Boy:
Wikipedia has the plot: "Jimmy (Dennis Jones) is a young boy who is tired of the drudgery of his daily routine. One morning, Jimmy shouts out, 'I wish time would stop!' Somehow, his wish gets heard by the so-called 'master clock', and everyone (except Jimmy) is frozen in their tracks. Observing this catastrophe is a magical astronomer (Karl Stoeber), who sends his daughter Aurora (Nancy Jo Berg) to talk Jimmy into helping her undo the damage before the time freeze becomes permanent. As Jimmy and Aurora travel to a region called the World's End so that Jimmy can replace the magical Golden Globe in the master clock to set time running again, they are hounded by an evil wizard known as Mr. Fig (David Blight Jr.), who seizes the chance to take over the world for himself. Jimmy and Aurora's travels take them through various places which include 'slow motion playground', 'night and day land', encounters with green-skinned Indians calling for rain, etc. all the while with Mr. Fig trying to stop them at nearly every turn on their mission."
Mr Fig sings:
Over at All Movie, Fred Beldin explains how the movie came to be: "At various points in his career, exploitation director Herschell Gordon Lewis took on films for flat fees from outside interests, then washed his hands of the results. Jimmy, the Boy Wonder is one of these mercenary productions, a children's musical that was financed by a producer who wanted a wholesome starring vehicle for his wife (Nancy Jo Berg) that could play the then-profitable kiddie matinee circuit. […] Unfortunately, Jimmy, the Boy Wonder is crafted as crudely as anything from this director's oeuvre, resulting in a crass, slapdash kid pic that undoubtedly led to restlessness and boredom in children and angry parents at the box office arguing about refunds. Dennis Jones is the most unsuitable child performer ever forced in front of the camera, unable to sing in tune, recite his lines without mumbling, or stop fidgeting long enough for a take to be completed. The attractive (yet matronly) Berg is naturally enthusiastic in her only known screen role, as is villain David Blight Jr., who leaps about the set in a loud plaid sports jacket with all the subtlety of the Hamburglar. Though the songs are uniformly bad, the worst crime of all is the time-padding addition of a lengthy foreign cartoon about a boy who employs an enchanted globe and the magic of goodness to battle against an evil witch, dubbed into English with Lewis himself providing the voices for several characters […]."
Bleeding Skull is a rare voice of praise: "My goodness, I like Jimmy, The Boy Wonder. The first night I got a copy I watched it three times. Why? I don't know. It is, simultaneously, the most listless and the most fun demented kid's entertainment I've ever seen. Folks can put it down all they want. Jimmy doesn't care. Neither do I."
The cartoon that HGL edited into his movie, by the way, is a French one: Paul Grimault's La bergère et le ramoneur / The Curious Adventures of Mr. Wonderbird (1952). The thus-entitled version is actually an unfinished version released against Grimault's wishes by the original producer André Sarrut. Paul Grimault gained possession of the unfinished film again in 1967 and finally released his finished version in 1980, Le roi et l'oiseau / The King and the Mockingbird (French trailer). The newer, final version is considered one of the masterpieces of contemporary French animation. The Curious Adventures of Mr. Wonderbird, however, is available in the public domain in the US.
The Curious Adventures of Mr. Wonderbird:



A Hot Night at the Go Go Lounge!
(1966, dir. H.G. Lewis)
The Video Beat has the skinny on one of Lewis's rare shorts: "U.S. short film. Starring Linda and Michelle (who dance better than they dress). Bongos, shaking hips, high heels, hot legs, wigs, 'the twist', go-go cages, tassels, pinky rings, bouncing butts, blue eye shadow and 'the frug'."
You can find it on the 1986 video release, Film House Fever. The photos further above above were once upon a time available on ebay — and reveal that the actual name seems to be A Hot Night at Go-Go Lounge.
Trailer to
Film House Fever:

 

More to follow — next month


Thank you Scene of the Screen for most if not all newspaper advertisements used in the following.
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