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Chautnisl Monster
a more genteel, selective psychopath who preferred poison to street surgery and who at least had the decency to marry his moneyed victims before doing them in (though one could hardly expect the aristocratic Ripper to extend the same courtesy to the kinds of common sluts he Carved up). In the earlier films of the “psycho” sort, the bloody rites conducted by the murderous misogynists were at least handled in a comparatively tame visual manner. But times change and tastes jade, and today the female victim is joyfully decapitated, dismembered and disembowelled in a recent rash of “blood’n'gore” movies, — cheap, amateurish productions released under the catch-all label of the ‘horror film’ whose sole aim is to flood the screen with as much female blood and as many mutilated female corpses as can be crammed into 60 or 80 minutes. Ina number of such films whose titles tell all, lady-loathers have been treated to such tasty sights as women being chopped up for food (Blood Feast), portraitured in their own blood (Color Me Blood Red), scalped (Gruesome Twosome), and sawed in half (Wizard of Gore), among other spectacles. All of these gory flights of fancy feature living color close-ups
of the various psychopaths’ horrible handiwork, complete with severed limbs and disinterred organs (for added realism
Attack of the 50 Foot Woman
COURTESY JOE KANE
actual animal intestines are often used). It must make women more than a little bit paranoid to realize there’s a healthy market for this stuff, particularly throughout the South, where many of these films are made. For some reason the “blood’n’gore” movies don’t get much play in the larger cities. Maybe because sick city woman-haters feel that if they but exercise a bit of patience, they'll eventually get to witness such gruesome goings-on without having to shell out any money for the privilege — a contention borne out by most big city crime statistics. While horror filmmakers were quick to concur with Society At Large that women made perfect victims, ideal outlets for countless creatures’ many and varied destructive urges, they were less enthusiastic about finding places for them as monsters in their own right — this despite the fact that half the films produced by the horror industry were variations of the Frankenstein theme, .a theme originally concocted by a woman, Mary Shelley, back in 1816. Women have long been able to secure somewhat steady employment as vampires (seductive sexual beings with only those relatively discreet little fangs to mark them as monsters), witches, voodoo queens, occultists, madwomen and ladies possessed, but it wasn’t until the horror film revival of the ‘50s and ’60s that titles like
Blood Feast
COURTESY JOE KANE
The Wolfman ——
It must make women more than a little bit paranoid to realize there’s a healthy market for this stuff.
THE MONSTER TIMES