Knife For the Ladies (1974) review

KNIFE FOR THE LADIES 1974 aka JACK THE RIPPER GOES WEST aka SILENT SENTENCE

Jack Elam (Jarrod Colcord), Ruth Roman (Elizabeth Mescal), Jeff Cooper (Detective Edward Burns), John Kellogg (Simeon Hollyfield), Gene Evans (Virgil Hooker), Diana Ewing (Jenny), Derek Sanderson (Lute), Jon Spangler (Seth)

Directed by Larry G. Spangler

The Short Version: A curious sagebrush slasher about a citified sleuth and a local sheriff investigating a string of prostitute murders. Aside from feeling like a sleazier version of a TV movie, KNIFE FOR THE LADIES is as tame as the Lone Ranger's horse. No nudity, very little blood, and only one brief shootout won't do much for the rough n' rowdy horror and western crowds. Ironically the picture is more successful at characterizations--the entire middle portion is devoted to it although there are some worthy characters that are either unexplored or given no payoff. The grotesque finale is a satisfying coda, followed by a catchy end credits funk tune. The budget is low, the music consists of library tracks and cues lifted from HANG'EM HIGH (1968); but the diet horror elements and plot twists make for a modestly intriguing 86 minutes of Little Horror On the Prairie.

The time is 1883. The place is Mescal, a small Southwestern town gripped in terror by a knife-wielding killer with a hatred of beautiful young women. Marshal Colcord is unable to solve the murders so an outside investigator named Ed Burns is brought in and immediately ruffles the Marshal's feathers. After butting heads and beating the hell out of one another, the two lawmen finally decide to cooperate. Uncovering a trail of clues that puts them closer to the murderer's identity, can they catch the killer in time before the next murder?

Larry Spangler was obviously fond of western cinema; his hands were on five of them back in the 1970s. All ranging in quality, his tales among the tumbleweeds include the awful THE LAST REBEL (1971) with Joe Namath (a friend of Spangler's) and the cult black action favorite THE LEGEND OF NIGGER CHARLEY (1972) starring Fred Williamson--whom Spangler would work with a few more times throughout the decade. Wedged in among his resume is KNIFE FOR THE LADIES, an obscure, peculiar, slasher western. A decent little picture, it nonetheless fails from a budget unable to withstand the weight of its ambitions.

Floating around for years in a carved up version barely reaching 60 minutes, KNIFE FOR THE LADIES (1974) comes to bluray from Code Red in its full 86 minute running time for the first time ever. The longer cut is a much better presentation showcasing several artistic flourishes that, despite making the picture appreciable in light of its low budget, won't help it win many new fans of either westerns or horror films.

Articles from the 1970s when Spangler and his crew were shooting in Old Tucson in mid '73 stated two versions were being shot--a gorier X-rated version with nudity for the European market and a less salacious one for North America. Purportedly aiming for a PG rating, the film ended up with an unnecessary R; this is especially perplexing since there are PG films more violent than this one from the same time period. As mildly enjoyable as it is, it's unfortunate the Drive-in crowd were denied the proper elements that could have made KNIFE FOR THE LADIES (originally shooting with the article 'A' on the title) an unheralded gem of trash cinema.

What we do get is a very mild horror picture with a touch of PSYCHO (1960), BABY JANE (1962) and the expected red herrings (such as the eccentric mortician who happens to be the town barber). The ample opportunities for exploitation is limited to a few slit throats and one character covered in Syphilis sores. 

Limited is another way to describe the action quotient. There's one brawl and only one gun battle (and it's hardly that at all); yet the script could just as easily have found room for more. The finished product isn't bound to satisfy many of either camp, but it isn't without some merits.

Shot at the Old Tucson Studios in Arizona, the "Hollywood of the desert" was an oasis for the western genre on both the big and small screen. Many of the greats were shot there including four big ones from The Duke, John Wayne: RIO BRAVO (1959), McLINTOCK! (1963), EL DORADO (1968) and RIO LOBO (1970). Additionally, it was also a popular tourist attraction. Built in 1938, Land Developer Robert Shelton bought the property in 1959 and turned it into the hottest locale for shooting Sagebrush Sagas. Shelton was involved in hundreds of Out West features and TV programs during the time he owned the property between 1960-1985. For KNIFE FOR THE LADIES, Shelton's contribution was as a writer for the first, and presumably only time.

Speaking of which, the writers do an extraordinary job of fleshing out the main participants--much to the detriment of the exploitation potential. Virtually the entirety of the middle portion is building the characters. While this isn't a bad thing, it causes confusion as to what sort of picture Spangler and crew were intending to create--and makes one long for that gruesome export version. Still, Jack Elam and Ruth Roman do well in keeping the movie bearable.

Elam's short-tempered sheriff is arguably the most likable and gets the most mileage from the way his character is written. Out of his dozens of western gigs this is one of the most complex; he's given an unusually meaty role where he starts out as a grizzled, unkempt marshal; by the end, he's a tempered, jovial personality. Key to this transformation is a minor sub-plot about a small boy (Spangler's son) that, yet again, goes the distance in moving the film away from its sleaze proponents during the middle section.

Seth, the kid who stumbles across one of the killer's victims at the beginning--much like Gene Evans' character (mentioned below)--is eventually pushed to the sidelines and not explored to any benefit. There's not even a scene where the kid is put in danger. He is key to the evolution of Elam's sheriff, but this ends up as another missed opportunity.

Ruth Roman is particularly sinister as the aristocratic Mescal founder. Just her delivery alone you know there's something not quite right about her. There's a great shot near the beginning where Seth walks past the Mescal home and sees a shadow moving past a window. KNIFE FOR THE LADIES needed more eerie moments like this. Roman appeared in a few other movies that had similar narratives like THE KILLING KIND (1973) and IMPULSE (1974)--the latter starring William Shatner. 

Character actor Gene Evans as former deputy Virgil Hooker is the other villain of the picture. Evans was always a reliable bad guy in the reputable, and less than reputable, films he appeared in. His former lawman, now disgruntled bar owner, is underdeveloped; which is unfortunate as he does a lot with his role--in the few scenes he's given.

Jeff Cooper, compared to the others, is arguably the least interesting character of the bunch. The script does well contradicting his Holmesian approach to investigating versus Elam's casual, almost disinterested style. Cooper's hairdo is somewhat distracting in an anachronistically 70s sort of way. It stands out as much as the funk theme song, 'Evil Lady' by Michael Stull. Cooper was the star of two comic book-based movies in Mexico's Kaliman series; and played Cord, the lead protagonist in CIRCLE OF IRON (1978). Sort of a beefier version of Marjoe Gortner, Cooper did garner a recurring role in the first few seasons of the mega-popular DALLAS (1978-1991) and some additional TV work before dropping out of the industry scene in the mid 1980s. 

Westerns mixed with Horror is a bizarre combo, and not a particularly popular sub-genre. Some have become minor cult items among the so-bad-it's-good crowd. There have been quite a few of them in recent years, although KNIFE FOR THE LADIES is but a minor footnote in the wagon train of wild west horror; other examples include TEENAGE MONSTER (1958), CURSE OF THE UNDEAD (1959), BILLY THE KID VS. DRACULA (1966) and JESSE JAMES MEETS FRANKENSTEIN'S DAUGHTER (1966). Modern examples include EYES OF FIRE (1983), GRIM PRAIRIE TALES (1990), RAVENOUS (1999), and BONE TOMAHAWK (2015).

Mexico did a fair number of them, too. THE LIVING COFFIN (1958), LA MURCIELAGOS (THE BATS [1964]), and EL CHARRO DE LAS CALAVERAS (THE COWBOY OF THE SKULLS [1965]) being some examples.

The reality is, that despite what little KNIFE FOR THE LADIES does right, its target audience is going to feel short-changed. It's obvious the filmmakers are trying for something different with its multi-genre machinations, but fails at satisfying a single one of them. There's not enough sleaze for the Drive-in lovers nor enough shootouts for western fans; and the dramatic moments that dominate the talky mid-section will serve only the most tolerant fan of Drive-in fare. It's biggest draw is its obscurity status, and the chance to see the full-length film for the first time.

This review is representative of the Code Red bluray. Specifications and extras: anamorphic widescreen 1.85:1; Code Red trailers; running time: 1:26:18.

The Desperados (1969) review

THE DESPERADOS 1969 aka HAINE LA DES DESPERADOS (HATRED OF THE DESPERADOS) aka LA MARCA DE CAIN (THE MARK OF CAIN)

Jack Palance (Josiah Galt), Vince Edwards (David Galt), Sylvia Syms (Laura Gant), Benjamin Edney (Pauly Gant), Sheila Burrell (Emily Galt), George Maharis (Jacob Galt), Kate O'Mara (Adah), Neville Brand (Marshal Andy Kilpatrick)

Directed by Henry Levin

The Short Version: Sweeping camerawork and a rousing score by the underrated composer David Whitaker enhance this violent, if unintentionally hilarious precursor to the downer western sub-genre, a style of oater that found prominence in the post-WILD BUNCH era. Jack Palance, in probably his most ferociously unhinged performance, is basically playing William Quantrill, the infamous Confederate leader of a band of cutthroats in the 1860s. Shot in Spain, this US-British co-production is graced with a lot of polish and ambition but fails mightily from sloppy editing. On the good side, Levin arms his film with energetic action sequences, buckets of tragedy and biblical connotations. Elsewhere there's a great storyline underneath the thick, succulent, thespian glaze of Jack Palance's high dollar ham.

After his wife is killed during the Civil War, a renegade priest, his sons, and a band of murderous plunderers massacre all the border towns they come across. One of the Confederate sons, Davey Galt, shocked at the massacre of the entire town, rebels and is sentenced to death by his father. David manages to escape and goes into hiding. A few years pass and the war is over; David has made a new life for himself in Texas. He changes his last name to Gant, gets married, has a son, and manages a peaceful existence till his crazed father and brothers come looking for him. Recalling the prophetic message of his dying mother, David realizes a showdown with his deranged father is inevitable.

Essentially a loose historical account of Quantrill's Raiders, a bloodthirsty bunch of Reb guerrilla fighters led by rampaging murderer William Clarke Quantrill, the movie is big on action and light on details. The plot is one with great appeal, already explored in similar fashion in earlier westerns such as 1958s QUANTRILL'S RAIDERS (with one of cinema's most prolific and recognizable Tough Guys, Leo Gordon, playing the title Reb); and more recent examples in the box office misfire RIDE WITH THE DEVIL (1999). Italian westerns with similar characterizations of Quantrill are seen in THE TRAMPLERS (1965) and THE HELLBENDERS (1967), both starring Joseph Cotten, and both films based on Will Cook's 1958 novel 'Guns of North Texas'. Walter Brough's script seems to be partially based on Cook's book while turning Palance's Josiah Galt into a more overt version of Quantrill.

Unfortunately, Brough's script is paralyzed from the waist down due to cannonball-sized holes in the narrative. These gaps suggest either terrible editing decisions or the production ran out of money and they had to scrap the shooting of certain sequences. One of these narrative chasms comes just before a jailbreak sequence. One minute David (Edwards) and Kilpatrick (played by a bloated Neville Brand) are getting drunk together and moments later they're suddenly sober, their dinner interrupted by an explosion leading to the escape of the two captive Galt brothers.

Another scene that doesn't make a whole lot of sense is David and Marshal Kilpatrick being captured and taken to Josiah's encampment. David feigns turning on the Marshal, making his two brothers believe he's returned to them. To prove his loyalty, Josiah orders him to slice up the Marshal but then David and Kilpatrick get the upper hand. Instead of taking Josiah or one of his brothers hostage they simply escape and get into a gunfight.

Doing a more accurate motion picture about Quantrill could have been an epic undertaking. That segment of the Civil War is of major historical significance in that his propensity for pillaging occurred in the few years leading up to Lincoln's assassination. Director Levin's movie, however, is as much Greek tragedy as it is a tumbleweed tale. It uses the real mad guerrilla leader and changes his name, turning him into a bible-spouting lunatic. Some of the Confederate Bushwhacker's murderous exploits are implemented to propel the storyline, though. 

For example, the film begins with a re-enactment of the Lawrence, Kansas Massacre of 1863. Changing the name to St. Thomas, Kansas, Josiah and his gang decimate the population from 1,645 to zero in a matter of minutes. Later in the movie an action scene aboard a train is reworked from an incident that occurred shortly after the infamous Kansas slaughter. The filmmakers up the ante by having a fight atop the train just prior to it catching fire, and derailing for no discernible reason.

THE DESPERADOS was released in November of 1969, a few months after THE WILD BUNCH (1969). Bearing an 'M' rating (the equivalent of a PG), it's often violent, but has none of the bloody squibs that raised eyebrows in the aforementioned Peckinpah classic. In place of blood spatter, Levin's movie wears a dark tone that never lets up, all the way to the shocking ending. Still, the cheerless atmosphere wages its own war with the scenery gobbling main star...

....An intense, comically over the top performance by Jack "GOOOOODAAAAMN YOOOOUUU!!!" Palance. To call his portrayal as the maniacal patriarch unhinged is being mild. In nearly all his scenes, Palance threatens to burst a vein in his head, ranting, raving and screaming his lines as if he's standing on a floor full of nails. Frequently gritting his teeth, growling, talking with his hands, and contorting his face in bizarre ways, Palance is a marvel to behold; the role demands a manic portrayal, only the esteemed actor goes far beyond the boundaries of being taken seriously. Moreover, it's exactly because of this irrational depiction that keeps THE DESPERADOS interesting. Director Levin came from a theater background, so possibly he encouraged Palance to put his acting into overdrive; or, considering Palance once said many of his movies were complete garbage, his onscreen mania may have been an extension of his displeasure with appearing in this movie.

Vince Edwards as the brooding Galt/Gant is about as reserved a hero as you can get. Essentially a tormented character in the mold of the biblical Cain, Edward's rarely emotes; even his screaming matches with Palance barely registers a slight tremor. We don't get a sufficient amount of time with him to garner much sympathy since the exposition is sabotaged every few minutes by Palance's mesmerizing mugging and the numerous, energetic, stunt-filled shootouts. Edwards went from the lead in the popular medical drama TV series BEN CASEY (1961-1966), to the high profile war picture THE DEVIL'S BRIGADE (1968) to this. He did some exploitation pictures like the Violent Cop thriller THE MAD BOMBER (1973), the Roger Corman produced cheapie SPACE RAIDERS (1983), and lots of television.

Hammer hottie Kate O'Mara is one of the Carlin's Entertainers, a wagon cart full o' whores. Sporting a lame leg, O'Mara gets about as much dialog and onscreen presence as she does in her horror pictures. She figures into the climax in a minor, but noticeable way. Prior to that, she's just a background face.

Another asset that ultimately works against the picture is the score by the underrated composer David Whitaker. Containing all the bombast any action film could ask for, Whitaker's cues sometimes feel out of place, better suited for a war movie. Still, his compositions are never slow, always on the move; and by the end, veer off into tense, almost uncomfortable areas. The opening theme, for example, is a soaring piece; but considering the depressing tone the film quickly adopts, Whitaker's orchestral opulence feels like it's wandered in from some other production.

Bearing the short-lived 'M' rating (suggested for Mature audiences) during its theatrical run, THE DESPERADOS lost some of its violent content. One scene occurs during the opening town massacre. Josiah has several men lined up along a wall and shoots them all in the back one by one. In the movie you only hear a single bullet fire. The scene is included on the promotional materials. There's some brief shots of partial nudity that may have been more risque before the picture was edited for content.

THE DESPERADOS has yet to turn up on any digital format in the United States. Sony released it on VHS back in 1992. Both France and Spain have released the picture on DVD, although the latter appears to be missing approximately ten minutes if the listed running time is accurate. The satellite airing that is the source of this review runs 1:30:32.

An ambitious failure, every time THE DESPERADOS gains momentum it puts it against the wall and shoots it in the back. Impressive aerial shots, thematic subtext and action lose steam to careless editing choices and merciless overacting by Jack Palance. For some, Palance's deranged line delivery will be a benefit rather than a hindrance. He certainly makes the picture a memorable experience; your point of view will determine whether that's in a good or bad way. It's an entertainingly trashy 90 minutes, indicative of where the western genre was headed in the 1970s.