THE STRAWBERRY STATEMENT (1970)

by Kimberly Lindbergs | November 25, 2011

Categories | Movie Reviews, American Cinema, Drama, Movie Morlocks, TCM

Bruce Davison & Bud Cort in THE STRAWBERRY STATEMENT (1970)

Happy Thanksgiving! Hope everyone enjoyed the holiday. I’ve been wrestling with a lot of personal stuff lately and some big changes are coming to this blog soon. But I just wanted to share a quick update about my latest piece for The Movie Morlocks titled, ‘Politics, Protest & Progress in THE STRAWBERRY STATEMENT.’ It’s a detailed look at Stuart Hagmann’s neglected first film, which should interest some politically-minded readers. Here’s a brief sample from my post:

“Stuart Hagmann’s THE STRAWBERRY STATEMENT (1970) is often dismissed today as a dated relic of the early ‘70s. During its initial release it was singled out for being exploitive and failing to be a straightforward adaptation of the book it was based on. Many critics claimed that Stuart Hagmann’s direction was erratic and too creative for its own good, which supposedly diminished the film’s political message. When I recently set aside some time to watch THE STRAWBERRY STATEMENT I prepared myself for the worst. I expected to see a confusing, opportunistic, dated and laughable Hollywood film made to cash in on the political zeitgeist of the late ‘60s and early ‘70s. But I came away from the movie with an entirely different opinion and immediately understood why it had been nominated for a Palme d’Or at Cannes in 1970 and walked away with a Jury Prize. Not only is THE STRAWBERRY STATEMENT a much better film than I had anticipated but it’s particularly poignant considering the current political climate. Student protest, police brutality, free speech and social activism are still hot button issues today. Not a lot has changed in 40 years. We’re still fighting the same battles and wrestling with the same complex issues that have been plaguing the country for decades. Like other controversial films from the same period such as MEDIUM COOL (1969), ZABRISKI POINT (1970) and PUNISHMENT PARK (1971), THE STRAWBERRY STATEMENT asked some important questions that still haven’t been answered.”

Lots more about this timely film at the Morlocks:
- Politics, Protest & Progress in THE STRAWBERRY STATEMENT @ TCM’s Classic Movie Blog

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“Don’t Let the Bastards Get You Down!”

by Kimberly Lindbergs | November 17, 2011

Categories | Movie Reviews, Actors, British Cinema, Karel Reisz, Tony Richardson

I recently got the opportunity to discuss the work of British screenwriter and novelist, Alan Sillitoe with members of The Alan Sillitoe Committee, including Alan’s son David. The name might not be familiar to many film fans but Alan Sillitoe is responsible for writing SATURDAY NIGHT AND SUNDAY MORNING (Karel Reisz; 1961) and THE LONELINESS OF THE LONG DISTANCE RUNNER (Tony Richardson; 1962). He gave a voice to Britain’s “angry young men” and helped define a generation.

Both SATURDAY NIGHT AND SUNDAY MORNING and THE LONELINESS OF THE LONG DISTANCE RUNNER are films that are near and dear to my heart and undoubtedly two of the best films to emerge from the British New Wave in the ’60s. I’ve briefly mentioned both movies on numerous occasions but I haven’t given them as much attention as I’d like. SATURDAY NIGHT AND SUNDAY MORNING will be airing on TCM this Saturday (Nov. 19th) so I thought it would be a good time to rectify my negligence. You can find my interview with members of The Alan Sillitoe Committee at the Movie Morlocks and I thought I’d share some of my thoughts about the film here.

In SATURDAY NIGHT AND SUNDAY MORNING, Albert Finney made his incredible screen debut as a young man by the name of Arthur Seaton. Arthur is a working-class lad raised in Nottingham who lives with his parents. He has a dead-end factory job that pays the bills but it leaves little room for much else. He spends the work week looking forward to his Saturday nights and Sunday mornings. During these weekend breaks Arthur fishes with friends, drinks himself into a stupor and seduces any willing lady that catches his eye. When he clashes with his boss and is accused of being a ‘red’ (communist) or gets beaten up for sleeping with a married woman, Arthur doesn’t let it faze him and lives by the motto, “Don’t let the bastards get you down!” while making it known that, “I’m out for a good time - all the rest is propaganda!” Arthur is much too smart and much too curious to be satisfied with the life his parents have accepted. Unfortunately his rough existence has made him a little mean and he doesn’t suffer fools lightly. But underneath all that false bravado is an angry young man with a volcanic size chip on his shoulder that could explode at any moment. Despite the underlying tension that filters through every frame of SATURDAY NIGHT AND SUNDAY MORNING, the film seems to end on a somewhat upbeat note with Arthur denouncing his parents (”They have a TV set and a packet of fags, but they’re both dead from the neck up.”) and realizing that he’s his own man, able to make his own way in the world, even if that world seems determined to hold him back.

“And trouble for me it’ll be, fighting every day until I die. Why do they make soldiers out of us when we’re fighting up to the hilt as it is? Fighting with mothers and wives, landlords and gaffers, coppers, army, government… Well, it’s a good life and a good world, all said and done, if you don’t weaken, and if you know that the big wide world hasn’t heard from you yet, no, not by a long way, though it won’t be long now.”
- Arthur Seaton from Alan Sillitoe’s ‘Saturday Night and Sunday Morning’

Watching SATURDAY NIGHT AND SUNDAY MORNING again recently, I was reminded of how poignant and powerful the film’s underlying message still was. Few films address the concerns of young working-class people so directly and so well. As I said earlier, it’s one of the most important movies that emerged from the British New Wave and it features a literal ‘who’s-who’ of British cinema at the time including the fabulous Albert Finney, as young Arthur. Finney swaggers through the film like a beautiful bulldog always keenly aware of everything going on around him. The film made Finney a star and it’s easy to see why. He’s a handsome man but it’s more than just looks that make young Finney so irresistible. He’s truly committed to the role of Arthur Seaton and he was able to harness the kind of rough and tumble working-class spirit that is so hard to find in today’s young actors. He’s a genuine tough guy and you don’t want to mess with him but he’s just soft enough to win a woman’s heart.

SATURDAY NIGHT AND SUNDAY MORNING was directed by Karel Reiz who brought a real authenticity to the film. Reiz was part of the British Free Cinema movement and his documentary background gave him the ability to truly capture the Nottingham local. He gave the film a real sense of place and purpose. The celebrated cinematographer Freddie Francis also helped shape the look of the film and there are some truly beautiful scenes that showcase Albert Finney and his costars (including award-winning actress Rachel Roberts and Shirley Anne Field) in the most flattering light imaginable. These lush moments can occasionally take you out of the film but Reiz and Francis quickly return you to the gritty streets of Nottingham. SATURDAY NIGHT AND SUNDAY MORNING was also edited by Seth Holt (THE NANNY) and produced by Tony Richardson (THE LONELINESS OF THE LONG DISTANCE RUNNER) along with Harry Saltzman (LOOK BACK IN ANGER). And last but not least, it features an amazing jazz riddled score by John Dankworth (THE SERVANT).

If you’d like to learn more about this terrific film please follow the link to the Movie Morlocks. It will take you to my interview with members of The Alan Sillitoe Committe where we discuss Sillitoe’s work in film.
- “Don’t Let the Bastards Get You Down!” @ TCM’s Classic Movie Blog

I also wanted to give a special shout-out to fellow film blogger and Alan Sillitoe Committee member Neil Fulwood who agreed to answer questions and went out of his way to contact Alan’s son David. Cheers, Neil! Please stop by his terrific film blog, The Agitation of the Mind and tell him I sent ya.

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All Aboard the HORROR EXPRESS!

by Kimberly Lindbergs | November 11, 2011

Categories | Movie Reviews, Horror, British Cinema, Spanish Cinema, TCM

At the Movie Morlocks this week I took a sneak peek at Severin Films upcoming DVD/Blu-Ray Combo Package for HORROR EXPRESS (1972). This entertaining Spanish/British production directed by Eugino ‘Gene’ Martino is finally getting the red carpet treatment from Severin that it’s long deserved and if you’re a fan of the film you’re going to want to pick up this release. A brief outtake from my post:

“HORROR EXPRESS has often been described as an unusual mix of THE THING (1951) and MURDER ON THE ORIENT EXPRESS (1974). But it also contains a dash of QUATERMASS AND THE PITT (1967) and a touch of TOMBS OF THE BLIND DEAD (1971) during its suspenseful final moments. The direction is somewhat static but the film manages to maintain a steady momentum throughout its 90-minute running time. In an interview with Spanish director Eugenio Martin included on the DVD he constantly refers to the film as an ”action” movie instead of using the word “horror” and I think that’s understandable. HORROR EXPRESS has plenty of horrific moments and it’s surprisingly gory for its time. But the film also features some effective action sequences including an explosive ending that’s particularly well-staged. Like many of Eugenio Martin’s westerns including BAD MAN’S RIVER (1971) and PANCHO VILLA (1972), the characters in HORROR EXPRESS also exchange some funny banter that lightens the mood without lessening any of the tension. This low budget fast-paced thriller is sure to gain many more fans thanks to Severin’s careful restoration. It’s a particularly modern horror film even though it takes place in a period setting and I think it’s aged well.”

You can read my full review if you follow this link:
- “All Aboard the HORROR EXPRESS!” @ TCM’s Movie Morlock’s

I’ve also created a an image gallery for HORROR EXPRESS at Flickr that you cam view here.

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Jacqueline Susann’s The Love Machine

by Kimberly Lindbergs | November 3, 2011

Categories | Movie Reviews, American Cinema, David Hemmings, Drama, John Phillip Law, Hammer Glamour, Movie Morlocks, TCM

I recently got the chance to review the Warner Archive DVD release of THE LOVE MACHINE (1971) based on Jacqueline “Valley of the Dolls” Susann’s book and naturally I jumped at the opportunity. I’ve mentioned the film at Cinebeats before during my farewell post to John Phillip Law, which was written after he passed away in 2008. I think it’s a great film so I went to bat for it at the Movie Morlocks this week. It’s not an easy movie to recommend. It’s been mocked by Mystery Science Theater 3000, bashed by an endless parade of critics over the years and celebrated as a kitsch classic worthy of cult camp status and not much else, but I think it’s got more to offer than unintentional laughs. Few films feature three leading men that I absolutely love (John Phillip Law, Robert Ryan AND David Hemmings!) as well as Hammer glamour girls, Mary and Madeleine Collinson (TWINS OF EVIL), Anitra Ford (INVASION OF THE BEE GIRLS) and ’60s beauty icon Lynda Moran just to name a few of the lovely ladies in this film. THE LOVE MACHINE also contains lots of fabulous ’70s fashions, plus stylish decor by the likes of Burke and inspired by designer Eero Saarinen. Do I need to say anymore? If you’re a Cinebeats’ reader chances are you’re going to enjoy this film as much as I do. An excerpt from my post:

“Taken seriously, THE LOVE MACHINE could be seen as an interesting predecessor to NETWORK (1976), which depicted the drama unfolding in the boardrooms and backrooms of high-powered television networks. The film also smartly critiques our blind fascination with popular news personalities who often manipulate the public trust for their own gain. Like Mark Robson, who adapted VALLEY OF THE DOLLS, director Jack Haley Jr. was obviously inspired by filmmakers like John M. Stahl and Douglas Sirk who created shrewd and stylish melodramas in the 1940s and ‘50s such as MAGNIFICENT OBSESSION, LEAVE HER TO HEAVEN and ALL THAT HEAVEN ALLOWS. And although I wouldn’t categorize THE LOVE MACHINE as a “woman’s picture” it was based on a woman’s novel that appealed to a large female audience. As a period piece, THE LOVE MACHINE is an unusal time capsule. It’s of its time and yet totally outside it. But as pure entertainment I think it has lots of visual interest and an oddly involving (and at times convoluted) plot. However you decided to approach the film, I think it makes for some unforgettable viewing.”

You can find my full post about THE LOVE MACHINE at The Movie Morlocks:
- Jacqueline Susann’s The Love Machine @ TCM’s Classic Movie Blog

I also created a Flickr Gallery for THE LOVE MACHINE that you can view here.

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Derek Jarman: An Appreciation

by Kimberly Lindbergs | November 1, 2011

Categories | Movie Reviews, News, British Cinema, Marianne Faithfull, Gay Interest

As a teenager growing up in the ’80s it was impossible to overlook Derek Jarman’s work. He was all over MTV. He was part of a group of British filmmakers that included Julien Temple and Alex Cox who made music videos or music inspired films that seemed particularly in-sync with their times. Jarman’s work was interesting, experimental and demanding of its audience but I appreciated the challenges he presented. I had grown up watching classic films but as a troubled and rebellious teenager I was eager to break away from convention. Discovering the work of an artistically inclined filmmaker like Jarman, who was creating with a limited budget while trying to express his ideas about the world and his place in it, was incredibly inspiring to me. I was drawn to Jarman’s work as well as the work of directors like Andy Warhol before I even knew what the word “avant-garde” meant. Foreign films were still foreign to me but like most kids my age, I had my MTV. And I watched the music channel with wide-eyed wonder in the early half of the ’80s (1981-84). I didn’t know it at the time but my exposure to the work of directors like Jarman at such an early age helped make me into the film lover I am today. While my passion for ’60s and ’70s cinema is never ending, it should also be apparent that I appreciate the unexpected, thirst for the undiscovered and thrive on the unconventional. I’m also able and willing to see the good in films that are often overlooked due to their limited budgets. I owe some of that to Derek Jarman.

I recently had the opportunity to write about Derek Jarman for Fandor.com during their week-long appreciation of the director’s life and work. The two pieces I wrote are titled, Radical Shakespeare: The Alchemy of Derek Jarman’s “The Tempest” and A Light that Never Went Out: the MTV Legacy of Derek Jarman. The first piece discusses Jarman’s adaptation of Shakespeare’s last play, The Tempest while the other piece focuses on his music video work for artists such as Marianne Faithfull and bands like The Smiths. If you’re familiar with Derek Jarman’s work or just curious about this unusual and controversial filmmaker please make your way over to Fandor.

Derek Jarman’s video for Marianne Faithfull’s “Ballad of Lucy Jordan” (1979)

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Klaus Kinski in Nosferatu

by Kimberly Lindbergs | October 20, 2011

Categories | Movie Reviews, Horror, Klaus Kinski, Isabelle Adjani, Movie Morlocks, TCM

I promised more Kinski and now I’m delivering…

Over at the Movie Morlocks you can find my recent post on Werner Herzog’s 1979 film NOSFERATU THE VAMPYRE. It’s one of my favorite Herzog films and I think it contains one of Klaus Kinski’s most compelling performances. This modern reimagining of F. W. Murnau’s NOSFERATU (1922) is really more of a tribute than a remake but it’s a wonderful example of how a director can reinterpret an old film for a new audience. I don’t hate remakes. Some of my favorite films are remakes. But I do hate bad movies with big budgets and no imagination. And there’s way too many of them taking up valuable real estate at multiplexes across the country while an army of compliant critics champion their failings. With all that in mind I decided to write about Herzog’s film because when I’m asked about my favorite remakes NOSFERATU THE VAMPYRE often comes to mind. Do I think it’s better than Murnau’s original? No. But I do think it’s just as good in its own unique way. A sample paragraph from my post:

“One of Herzog’s smartest directing choices was casting Klaus Kinski in the role of Dracula, which was a part previously played by Max Schreck. Klaus Kinski makes a formidable vampire and his dynamic working relationship with the director undoubtedly impacted his performance. Strangely enough, the role of Dracula in NOSFERATU also provided Kinski with one of his most sympathetic and humane roles. Although Kinski is obviously playing a hideous undead creature, he manages to give Dracula some genuine humanity and it’s one of the actor’s most fascinating and strangely touching performances. Instead of directly following in Max Schreck’s footsteps, Kinski seems to have been inspired by the tragic monsters found in classic Universal horror films such as FRANKENSTEIN (1931) and THE WOLF MAN (1941). In Klaus Kinski’s autobiography he articulated how much the physical aspect of playing a vampire had transformed him.

In Holland and Czechoslovakia and all the way to the Tatra Mountains on the Czech-Polish border. The departure point is Munich. Four weeks before shooting starts, I have to fly there for costuming. And this is where I shave my skull for the first time. I feel exposed, vulnerable, defenseless. Not just physically (my bare head becomes as hypersensitive as an open wound) but chiefly in my emotions and my nerves. I feel as if I have no scalp, as if my protective envelope has been removed and my soul can’t live without it. As if my soul has been flayed.

At first I go outdoors only when it’s dark. Besides, I wear a wool cap all the time even though it’s spring. You may think ‘So What? Some guys are bald.’ But the two have absolutely nothing to do with one another. What I mean is the simultaneous metamorphosis into a vampire. The nonhuman, nonanimal being. That undead thing. That unspeakable creature, which suffers in full awareness of its existence.” - Klaus Kinski from Kinski Uncut”

Want to read more? Please visit The Movie Molocks!
- Reimagining a Classic: Werner Herzog’s NOSFERATU @ TCM’s Classic Film Blog

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Klaus Kinski as Ahmed Kortobawi

by Kimberly Lindbergs | October 18, 2011

Categories | Movie Reviews, Actors, Jess Franco, Klaus Kinski, Dennis Price

Today would have been Klaus Kinski’s 85th birthday if he were still alive. I’ve written birthday tributes to Klaus before but today I thought I’d share a little something about one of my favorite Klaus Kinski films, Jess Franco’s remarkable Venus in Furs aka Paroxismus (1969).

From the DVD box:
“Of all the twisted hits from cult director Jess Franco (SADOMANIA, 99 WOMEN), this is the one that fans and critics alike call his masterpiece! James Darren (THE GUNS OF NAVARONE, DEEP SPACE NINE) stars as a traumatized trumpeter sucked into a whirlpool of psycho-sexual horror along with his sultry girlfriend (singer Barbara McNair), a kinky lesbian (Margaret Lee of THE BLOODY JUDGE), a depraved playboy (the legendary Klaus Kinski) and the mysterious, insatiable beauty (luscious Maria Rohm of JUSTINE) who may lead them all straight to Hell.”

If that description doesn’t grab your attention, nothing will! As stated above, Kinski plays a wealthy sadist named Ahmed Kortobawi who’s obsessed with sexual pleasure that finally erupts in an act of bloody violence. After he participates in the kinky murder of a beautiful woman (Maria Rohm), Kinski and his cohorts (Dennis Price & Margaret Lee) are haunted by her ghost (or are they?). Franco’s incredibly sensuous and decadent film isn’t a straightforward horror movie but imaginative viewers should appreciate the supernatural elements of Venus in Furs. As Cathal Tohill & Pete Tombs explain in their book Immoral Tales, Franco was inspired to make his film after a conversation with jazz legend, Chet Baker. The acclaimed trumpet player discussed how getting lost in musical improvisation could create images in your head that explode in flashes of memory. Franco used this idea for the basis of his story and Venus in Furs unfolds in a series of flashbacks and flash-forwards that lend it a surreal quality accentuated by the fantastic nature of the film, the creative set design and the director’s ability to create awe-inspiring imagery. As usual Klaus Kinski manages to steal every scene he appears in and his final screen moments are unforgettable. The jazz infused score was composed by British beat artist Manfred Mann who also makes a brief appearance in the film as a musician. With its lengthy nightclub and party scenes, decadent fashions and groovy soundtrack, Venus in Furs is a film that begs for multiple viewings.

One of my favorite pieces on Franco’s Venus in Furs was written by Mike Kitchell and can be found on his blog, Esotika Erotica Psychotica. And for more on Jess Franco and his fabulous films please visit Robert Monell’s blog I’m in a Jess Franco State of Mind

You can expect to see more of Kinski @ Cinebeats soon!

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VOICES (1973) or The Other OTHERS

by Kimberly Lindbergs | October 13, 2011

Categories | Movie Reviews, Horror, British Cinema, David Hemmings, Movie Morlocks, TCM, Gayle Hunnicutt

If there’s a couple that was more modtastic and appeared in more outstanding horror films & thrillers than the fabulous David Hemmings and the vastly underrated Gayle Hunnicutt, I don’t know who they are. Hemmings and Hunnicutt were married between 1968 and 1975. During that brief period of time they made FRAGMENT OF FEAR (1970) and VOICES (1973) together (as well as THE LOVE MACHINE, which I’ll be writing about soon). They also individually starred in such noteworthy films as EYE OF THE CAT (1969), UNMAN, WITTERING AND ZIGO (1971), NUITS ROUGE (1974), THE LEGEND OF HELL HOUSE (1974) and DEEP RED (1975).

David Hemmings & Gayle Hunnicutt (1967)
Note: Gayle’s holding David’s LP!

Speaking of Hemmings & Hunnicutt, I’m taking a lengthy look at the spooky supernatural thriller VOICES (1973) at the Movie Morlocks this week, which features the real-life couple as a husband and wife haunted by ghosts and plagued by their own personal demons. I recently watched VOICES for the first time and was very impressed with this vastly underrated - and undeniably influential - little horror film. I was also surprised by the lack of available information about VOICES. I scanned my personal library and did extensive research online but solid facts and important figures were incredibly hard to come by. I decided to try and remedy the situation by writing a dissertation piece about the film for the Morlocks, which hopefully shines some much needed light on the movie and encourages more horror enthusiasts to seek it out. Unfortunately it’s currently only available on VHS legally but bootleg DVDs are floating around online. You can also watch VOICES on Youtube, which is where I saw it. Here’s a brief excerpt from my post:

“VOICES is based on the work of accomplished horror author, Richard Lortz (Lovers Living Lovers Dead, Bereavements, Dracula’s Children, etc.) and it explores the life of a young couple (David Hemmings & Gayle Hunnicutt) whose idyllic existence is turned upside down when their young son accidentally drowns. Through a series of flashbacks we learn that the mother, Claire Williams, was deeply traumatized by the loss of her child and after numerous suicide attempts she was finally hospitalized. Her husband Robert has been trying to cope with the stress as well as but it’s apparent that the situation has become increasingly difficult for them both. After Claire is released from the hospital the couple plans a trip to the country where they can relax in a large manor house that was left to Claire by her recently deceased aunt. It seems like the perfect setting for the couple to rekindle their romance but things begin to disintegrate quickly after their trip becomes hindered by the foggy weather, which makes finding the house almost impossible. The situation reaches a breaking points after Claire begins hearing strange unidentifiable voices in the house. Eventually the voices take shape and Claire comes face to face with the ghostly figure of a young girl playing with a toy ball who doesn’t seem aware of the couple’s presence. But she isn’t the only ghost haunting the old house and before the film is over both Claire and her husband Robert will experience a series of unexplained supernatural events that leave them questioning their sanity as well as their very existence.”

For more (much more!) please continue reading at The Movie Morlocks:
- “The Voices of Terror – Twisting Two Minds!” @ TCM’s Classic Movie Blog

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Do the Jellyfish!

by Kimberly Lindbergs | October 12, 2011

Categories | Movie Reviews, Horror, Science Fiction

STING OF DEATH (1965) tells the strange and tragic story of Igor Egon (John Vella), a horribly disfigured loner who just might be Oliver Reed’s ugly American cousin. Egon works for a scientist (Jack Nagle) in the Florida Everglades who is studying jellyfish, in particular the extremely dangerous Portuguese Man of War. Egon also happens to be in love with the scientist’s pretty daughter Miss Karen (Valerie Hawkins) but Miss Karen only has eyes for John (Joe Morrison), a clean-cut and incredibly dull young man that also assists her father. John smiles a lot, seems to enjoy berating Egon and likes to take his shirt off. Things get interesting when Miss Karen arrives at her father’s swanky Florida home with a bunch of her cute girlfriends. John throws Miss Karen a wild party and a group of local hipsters arrive to drink, dance and assault poor Egon. But unbeknownst to them, Egon has been hatching a sinister plan! Undoubtedly inspired by a steady diet of comic books and low-budget Japanese monster movies, Egon transforms himself into a deadly jellyfish-like monster and begins eliminating the rhythmless party guests who seem determined to prove the old adage is true: white people can’t dance.

“Wella, I’m saying fella, forget your Cinderella and do the jella, the jilla-jalla jellyfish!”
- Neil Sedaka

Before this no-budget movie comes to an end you’ll see people “Do the Jellyfish” and witness some of the most unconvincing special effects ever captured on film. It might be hard to believe but STING OF DEATH is probably my favorite William Grefe film. Grefe directed and produced a batch of vaguely interesting American B-movies shot in Florida during the ’60s and ’70s such as DEATH CURSE OF TARTU (1966), THE WILD REBELS (1967) and STANLEY (1972). STANLEY, which tells the odd tale of a Vietnam vet with a penchant for killer snakes, is probably the director’s most respected and best-loved film but I personally prefer STING OF DEATH. Maybe it’s the “Do the Jellyfish” ska inspired tune sung by Neil Sedaka? John Vella’s scene stealing turn as the sympathetic Egon? Or could it be the cheap jellyfish monster costume that stuntman Doug Hobart risked his life to wear? Whatever the case may be, I found STING OF DEATH a hell of a lot of fun to watch and it’s available from Something Weird Video. If you have cable TV you can currently see STING OF DEATH on demand, which is where I recently watched it.

Trailer for STING OF DEATH (1965)

One of the film’s highlights!
A ska influenced musical number “Do the Jellyfish” sung by Neil Sedaka

Recommended links:
- William Grefe’s Official Homepage
- Eccentric Cinema’s review of Grefe’s STING OF DEATH & DEATH CURSE OF TARTU with jellyfish monster sound effect!
- STING OF DEATH was the subject of a B-Masters blogathon & you can find a batch of reviews for the film at their site.

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