Chinatown (1974, Roman Polanski)
Chinatown (1974, Roman Polanski)
“If I left I’d never see you again. Don’t you think that’s sad?”
Sadly not much. There are a trio of Q & A’s; one with Fassbender after a screening at the Hackney Empire in London, and another two done during production, and a trailer.
While this low-budget horror movie never quite manages to fulfil its promise it has a certain charm. Made in the same cheap and cheerful fashion as Sam Raimi’s The Evil Dead (1981) by a bunch of amateur filmmakers in New Jersey, The Deadly Spawn features intergalactic carnivorous aliens munching on the local population. A cult favourite on VHS the film is very much of its time. It has the bleakness often found in American horror films from George Romero’s Night of the Living Dead (1968) onwards and the gross out comedy horror of the 80’s in which death is treated as an elaborate joke. The Deadly Spawn has a knowing sense of humour and is clearly made by people who love horror films and science fiction. The most resourceful character in the film is a kid who is obsessed with horror and is able to adapt when his own life turns into a scary movie. The creatures when they appear are suitably disgusting, tadpole-like with layers of teeth. Not nearly as frightening as the décor though. It’s terrifying, a mixture of garish colours and unholy shades of brown which might well inspire intergalactic visitors to think human beings are of little use except for eating or tearing into pieces. The film was a minor sensation today but now looks as hokey as the B-movies of the 1950’s. Fun though.
Credit to Arrow Video they never stint on the extras. Doesn’t matter if the film is an arthouse classic like Ashes & Diamonds (Andrzej Wajda, 1958) or a daft homemade horror film like The Deadly Spawn Arrow respectfully takes the same care when putting the DVD extras together. In this case the special features are far more interesting than the actual movie. An accompanying booklet contains written work on The Deadly Spawn by film experts Calum Waddell and Tim Sullivan. Producer Ted A. Bohus provides two commentaries, one of which is a conversation with Editor Marc Harwood and basically involves them describing whose house they are filming in at that particular moment. This really was DIY filmmaking. The archive footage provided in a trio of features emphasises this. It is like watching a hairy grown-up version of Super 8 (2011, J.J. Abrams). John Dods IMDb page credits him with providing Matt Dillon dummies on A Kiss Before Dying (1991, James Deardon) and being Grace Jones Corpse Creator on Boomerang (1992. Reginald Hudlin). Since then he’s been off the radar, maybe Grace Jones got him, but there is an amusing documentary filmed in his workshop. There is also an audition reel which includes actors who didn’t get the parts they were reading for which is perhaps cruel, but not as cruel as it is funny. There are also interviews with Bohus on various low-rent TV channels, a comic strip prequel which attempts to give the film a backstory but seems more like an afterthought, and the original trailer for the film’s cinema release.
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