The Love Butcher (1975) review

THE LOVE BUTCHER 1975

Erik Stern (Caleb/Lester), Kay Neer (Florence Leonard), Jeremiah Beecher (Russell Wilson), Richard Kennedy (Captain Donald Stark), Robin Sherwood (Sheila), Eve Mac (Pat)

Directed by Mikel Angel and Don Jones

"I'm the great male Adonis of the universe!"

The Short Version: This 70s misogynist schlock is about a deeply disturbed, necrophilic gardener with a penchant for pruning the female population of an LA suburb. Wretchedly entertaining from start to finish, the film is held together by its lead, Erik Stern, stoically uttering some of the dumbest dialog imaginable in a showstopping, multi-character portrayal of Shatnerian proportions. Equal parts Norman Bates and Robert Louis Stevenson's famous Jekyll and Hyde story, this tale of the psycho with the alternating psyche is in the same class as THE CENTERFOLD GIRLS (1974) and THE SWINGING BARMAIDS (1975); only THE LOVE BUTCHER is that one clown destined to sit in the corner wearing a dunce cap. That's a recommendation, by the way.

Caleb, a deranged caretaker with a split personality, kills beautiful women living in a Los Angeles suburb using a variety of disguises and garden tools.

The tastelessly titled THE LOVE BUTCHER is fun for all the wrong reasons. Other than a few shining moments, it's uniformly awful in nearly every department; yet somehow manages, seemingly by accident, to come out a polished turd. For instance, the gore is of the "offscreen technician squirts blood" variety. However, the quirky music of porn composer Richard Hieronymus gives the impression we're watching an intentionally terrible movie. The use of cartoonish cues, and even Beethoven, adds a blackly humorous layer, turning this malnourished movie into a digestible experience. Regarding porn, with its $40,000 budget, THE LOVE BUTCHER could easily have been an X rated venture. 

Shot in 2.35:1widescreen to give it more ample production value, the filmmakers do very little with the wider open space. Most everything is dead centered. There are a few infrequently inspired moments, but something else keeps the picture interesting; and that one factor that makes this movie of lasting importance is Erik Stern.

While a life preserver couldn't keep the film from drowning in a sea of mediocrity, the performance of Erik Stern manages to keep the movie afloat despite being given the dumbest lines this side of an Ed Wood monologue. He even gets a catchphrase, "But of course!" Stern didn't do a great deal afterward, but his deliriously excessive tour de force as the title boucherie de l'amour alludes to great things that never materialized. Co-director Angel's script (with assist by Jim Evergreen) contains a bumper crop of hackneyed dialog for Stern, and he spouts if off with such straight-faced conviction, one can't help but be in awe of him--especially when the necrophilic nutcase is uttering diatribes like, "You're going to make love to me. Satiate me. Fill me with nymphoid satisfaction. Drain me. And then you'll lie at the foot of my alter. And adore my godly beauty."

A comparable performance would be Dyanne Thorne as Ilsa, the psycho-sexual Nazi Fraulein of a popular series of exploitation pictures. Both are wildly over the top and campy, only Erik Stern's role is far more complicated, yet, unfortunately, his career never took off in the cult film canon as Thorne's did with her infamous interpretation of the nasty Nazi. 

Stilted dialog aside, the writers have given Stern a psychologically complex character to chew on for 84 minutes. It's the film's winning hand where most everything else fails. Stern is essaying a dual role of sorts, with Caleb and Lester evoking both Jekyll and Hyde and Norman Bates. The former in that Caleb is docile and ugly while Lester is handsome and a smooth talker. Caleb is a hunched over, balding, overalls-wearing gimp who wears what looks like magnifying glasses for bifocals. When Caleb kills, he does so as Lester, a suave, muscular Casanova wearing a toupee who sweet talks the ladies--making house calls as something of a Love Doctor--but once the doors close he becomes the Love Butcher. 

Just like in the same years THE SWINGING BARMAIDS (1975), we're dealing with another guy who can take his women hot or cold, if you get my meaning. That film, along with others dealing with psycho killers, are superior to THE LOVE BUTCHER, but few have the ability to blur the line between outright kitsch and refinement.

 
The two persona's are constantly at war with one another, too. In actuality, there's more to this relationship than a mere split personality--Caleb and Lester were brothers. Some of the best scenes are those where Caleb is arguing with Lester, who is represented by a Styrofoam mannequin. When Caleb is Lester (actually, Lester is the one who is alive), he has a wide array of personalities aside from assuming the identity of his sibling--these range from a Texas cowboy, to a Hispanic record salesman; and Stern is extraordinarily good at all of them.

It's in these scenes of a battle of wills where the PSYCHO (1960) influence is noticeable. When Caleb/Lester is talking to himself, we never see him talking in the other voice. There's a detachment between the two that's reflective of Norman's conversations with his "mother". A deep seated animosity is shared between the two families--Norman with his mother and Caleb/Lester with his brother. That the two are in fact brothers isn't a big secret, but the final revelation at the very end is another comparison to Bates.

There's one other actor who makes an impression in THE LOVE BUTCHER. Richard Kennedy (billed as Edward Roehm) is seemingly in competition with Stark as to who can say the ridiculous dialog in the most serious, or most bombastic fashion; such as this pearl Kennedy says with a straight face when his character figures out a defining trait of the killer.... "Whoever did this is weird. Not just sick, but a real weirdo." Kennedy, as Captain Stark, is constantly yelling his lines with gnashing teeth, repeating similar affectations of a certain iconic police officer played by Clint Eastwood. Just as Erik Stern is incredible as the literal lady-killer, so is Kennedy as the no-budget Harry Callahan. A veteran of a handful of Drive-in movies, Kennedy (who had more than one pseudonym) was a memorable character actor who could really express himself as villains or comic relief. He was the General who begged Ilsa to piss on him in ILSA, SHE-WOLF OF THE SS (1975) and gets scalped in the Indian revenge picture, JOHNNY FIRECLOUD (1975).

For all of Stark's anxiety and bluster, he can't seem to put two and two together in what amounts to another scripting blunder. It takes him and his police force long enough to come to the conclusion that all the murders have occurred in the same neighborhood, but never seem to make the gardening tool connection. Towards the end we hear a radio broadcast that Stark has been removed from the case due to incompetency! Even more hair-brained is Russell, listening to this on the radio, figures it all out by recalling two different people referring to Caleb the gardener as a weirdo.

With little else to recommend it, the rewatch value of THE LOVE BUTCHER is due predominantly to Erik Stern. His multi-cultural character arcs are a marvel to watch in action. Richard Kennedy gives him some good camp competition in the interim. The gore is weak, but the misogynistic mean streak is strong, even with the chintzy moments generously spread throughout. Your tolerance for camp will figure into whether you'll be able to handle something as budget barren and technically inadequate as this. The Drive-in crowd will be the most appreciative by a visit from THE LOVE BUTCHER (1975).

This review is representative of the Code Red DVD. Extras and specs: 16x9 anamorphic 2.35:1 widescreen; audio commentary with director Don Jones.

The Swinging Barmaids (1975) review

THE SWINGING BARMAIDS 1975 aka EAGER BEAVERS

Bruce Watson (Tom Brady), Laura Hippe (Jenny Malone), Katie Saylor (Susan Thompson), Renie Radich (Marie O'connor), William Smith (Lieutenant Harry White), Zitto Kazann (Zitto), Dyanne Thorne (Boo Boo Johnson), Jim Travis (Dave)

Directed by Gus Trikonis

The Short Version: It is said one man's trash is another man's treasure--and there's plenty of booty to go around in this seemingly forgotten gold nugget of 70s exploitation. A pre-ILSA Dyanne Thorne is one of the beautiful women being stalked by a Karate fightin' necrophile played by TV actor Bruce Watson in an out of nowhere, off the rails performance. Playing a sicko named Tom Brady(!),this unlucky in love and unbalanced fruitcake manages to keep it together till one of his potential victims calls him "sonny", uses the word "faggot", or indirectly laughs at him. Sweetening the deal is Biker Movie/Drive-in King William Smith as the cop tracking the killer. A well made, well-endowed production from the director of MOONSHINE COUNTY EXPRESS (1977) and THE EVIL (1978).

A psycho killer who looks like Kenny Rogers stalks the sexy barmaids of the Swing-A-Ling Club. After killing one of the waitresses, and failing to kill another three after they catch him in the act, he shaves his face, dyes and changes his hairstyle, and ends up getting a job at the very same club as a bouncer. Oblivious to the fact the killer is in their midst, bodies continue to pile up between the employees and those connected with them. Meanwhile, a resolute police Lieutenant is desperate to bring the maniac's reign of mayhem and murder to an end.

The producer of SUPERSTITION (1982), the writer of DEATH RACE 2000 (1975), and the director of THE EVIL (1978) deliver a fantastic sleaze pizza with all your favorite toppings, and in just under 90 minutes. Low on gore (it does sport some splashy blood squibs), but high on tension and entertainment value, THE SWINGING BARMAIDS is occasionally skeevy, even if, at times, it teases more than it actually shows; this works in the film's favor. Vastly underrated, these imperiled, well-endowed waitresses are currently unavailable in a quality presentation.

Other than the barmaids, neither the film's title (including its re-release title of EAGER BEAVERS), nor its advertising evokes what the actual movie is about. Jack Hill's comedic romp THE SWINGING CHEERLEADERS (1974) was a success, so possibly the producers were trying to siphon some of it for their movie. As for the contents of Trikonis's picture, it has more in common with the misogy-sadistic THE CENTERFOLD GIRLS (1974). Like their cousin, the slasher movie, these psycho killer flicks generally traded gore for an unsavory atmosphere. Both types of films used beautiful, often naked, women as their selling points; and like the slashers, they're only as good as their villain... and BARMAIDS has a damn good one.

Slasher killers live or die by how intimidating they are behind a mask. Psycho killers are almost always viewed as abundantly human, sans any supernatural aura created to mask their true identity. Since we often see the face of the latter early on, these movies rely on the disturbing qualities of the maniac in question to derive disgust from the audience. The killer of BARMAIDS is where this film excels, and much of that success is due to Bruce Watson's unhinged performance as mercurial sadist, Tom Brady!

Bruce Watson never did a whole lot outside of small screen work. If you're a fan of the original STAR TREK (1966-1969), you'll recognize him as a member of Kirk's doomed landing party (non-red shirt, too!) who succumbed to the salt monster in 'The Man Trap'. As Tom Brady, Watson is calculating, cunning, and purely evil. He's also extremely self-conscious despite being able to kick the asses of upwards of a dozen men at once. A necrophiliac (we never see this, but hear about it), he then does mock photo shoots with the corpses--posing them in various positions while snapping pictures for his repulsive collection. 

When we first meet him in the Swing-A-Ling Club, he looks like a wiry Kenny Rogers. Ordering a Virgin Mary, Boo Boo the waitress, sensing he might be a virgin himself, calls him 'Sonny'; but similarly to Leslie Nielsen in AIRPLANE! (1980), Tom doesn't like being called Sonny. Despite his insistence, the waitress continues to refer to him using that "young buck" defining appellation, ensuring she will be receiving an unwanted guest later that night.

Playing the grumpy Boo Boo is Dyanne Thorne. Her fans will be enticed to see this based on her participation alone. But don't get too aroused because her co-star credit amounts to an extended cameo. She hadn't broke out as ILSA, SHE-WOLF OF THE SS (1975) yet, so her part is reduced to victim status. This first attack sequence is very well shot. Both Thorne and Watson really throw themselves into the sequence to make it as believable as possible. The other attack scenes are just as brutal in their realism. The pool attack, for instance, is particularly grim.

After Bruce has managed to cunningly kill off most of his prey with veritable ease, Charles Griffith writes a fantastically taut set piece for the finale involving bloody gun play and a car-motorcycle chase; and when you have motorcycles in a Drive-in movie, William Smith can't be far away.

Easily the greatest actor in exploitation cinema history, and one of the best, most underrated actors in film of any style is William Smith. If you don't recognize the name, you will surely know the face. He fought Clint Eastwood in ANY WHICH WAY YOU CAN (1980) and was Conan's dad in CONAN THE BARBARIAN (1982)--two of his more famous roles. In BARMAIDS he plays Lieutenant White. Smith had a certain attitude he brought to many of his parts--particularly when he was a villain. He could do good guys with the same amount of conviction and ease. In 1973 he played a government agent in the Drive-in classic, INVASION OF THE BEE GIRLS (1973), and his Lt. White is in the same vein.

 
Often associated with Roger Corman movies, Charles B. Griffith's script is wittily effective with its dialog and surprisingly thick with characterization while relying on the usual genre staples to make it work. 

The film isn't without a few silly moments--the obvious fake beard Watson wears prior to changing his appearance; a news reporter stupidly gives out the surviving waitresses names on live television. Other than that, there's nothing major to complain about.

During this time period, Gus Trikonis was an extremely efficient director of quality Drive-in movies. Among his credits you'll find the Philippines set chicken fighting movie SUPERCOCK (1975); the trashy, pre-COAL MINER'S DAUGHTER (1980) drama of NASHVILLE GIRL (1976); and the Southern Fried Car Crasher MOONSHINE COUNTY EXPRESS (1977). Unfortunately, much of his work is unavailable in pristine quality for reappraisal.

On its own merits, THE SWINGING BARMAIDS is an above average thriller with just enough gratuitous moments to keep it in respectable stead with other, more salacious exploitation pictures of a similar brand. Hopefully some DVD company will option it in the near future, allowing for many new customers to frequent the Swing-A-Ling Club.