One of the more bizarre offerings amid 70’s cinema bigfoot/yeti
mania, SHRIEK OF THE MUTILATED is the cinema offspring of low budget New York
director/writer/producer Ed Adlum (who was behind the druid/gore classic
INVASION OF THE BLOOD FARMERS 1972) and the NYC sexploitation/ roughie creative
team couple Michael and Roberta Findlay.
Although not living up to what one would think this pairing of inventive
minds would conjure up, it’s still entertainingly deranged with retina burning 70’s
fashions, the expected WTF dialogue, bright blood red splattered low-budget
gore plus you get satanic rituals and cannibalism (!!) mixed in. What more
could you want?
Written by Adlum & Ed Kelleher, SHRIEK shares crew members and cast from INVASION OF THE BLOOD FARMERS (and which would make a heck of a double feature with). Adlum reached out to Michael Findlay to direct, with Roberta managing the camera chores. The couple had separated by this time and as Roberta explains on the Vinegar Syndrome Blu-ray commentary track Michael was too "psychologically damaged" to complete the film on his own, so she took over the director’s chair.
Opening with a prologue featuring someone wearing a
bigfoot-like mask and a red robe next to a swimming pool who then chops off a
victim’s head (which plops into the pool) while a giggling Michael Findlay looks
on, we start with the standard Cryptozoology cinema scene of a professor lecturing
a group of students on yeti-like creatures. The professor is Dr. Ernst Prell (Alan
Brock) who is giving some last-minute instructions to a group of students who
will accompany him on his expedition. The students are Keith Henshaw (Michael
Harris), Karen Hunter (Jennifer Stock GOD’S BLOODY ACRE 1975), Tom Nash (Jack
Neubeck INVAISON OF THE BLOOD FARMERS 1972) and Lynn Kelly (Darcy Brown). Most
of the actors have an exceedingly small resume appearing here and in INVASION
OF THE BLOOD FARMERS except for Jennifer Stock and Darcy Brown. Brown had an
interesting sexploitation career appearing in DIARY OF A SWINGER 1967, BACCHANATE
1970 (which also has a Roberta Findlay cameo) and DYNAMITE 1972.
After some stilted dialogue outside the classroom the group
goes to a party which features awkward dancing and a guy with a popcorn cart making
the greasiest, most nasty-looking popcorn in the world while the song “Popcorn”
by Hot Butter plays (this song was missing on previous home video until the
Vinegar Syndrome release). A survivor
from one of Prell’s previous expeditions shows up at the party (sporting one of
the greatest comb overs in cinema history) along with his wife and he gives a
drunken monologue about the fate of the previous expedition. This leads to a bizarre
out of nowhere sequence where we are treated to a double murder/revenge-murder involving
an electric carving knife and a toaster.
Warner tells the group that there is a yeti in the area as he
has heard its heart beating loudly and soon the expected carnage ensues with
the gore mostly consisting of severed limbs tossed about and closeups of bloody
scratched faces. The yeti is shown with surprising clarity for this type of film,
and it looks like the camera work is mostly based on hiding the zipper. However,
this all does play into the film’s bizarre climax.
The film has that low-budget weirdness about it with long stretches of people standing around bickering and/or shouting at each other, engaging in blustering monologues to explain plot points and particular to bigfoot cinema there’s aimless wondering about the woods.
The plot features bunches of expositions and random
sequences through its first one-third or so and to its credit it does tie most
of them into the films multi-layered conspiracy climax (one facet of which is
made obvious to viewers and involves a “native dish”).
Roberta Findlay’s camerawork is sometimes very impressive
with a nice autumnal feel to the film although we never feel like we are in
anyplace remote starting with the iron girder and concrete bridge that accesses
the “remote island.” Roberta is one of the more fascinating characters in the
1960’s NYC sexploitation world. She started working with then husband Michael on
his infamous “Flesh” trilogy and SNUFF and later in the seventies was one of
the few female directors working in hardcore/adult. Along with her excellent
take on Polanski’s REPULSION with A WOMAN’S TORMENT 1977 there are a few interesting
horror films in her filmography including ORACLE 1985, BLOOD SISTERS 1988, and
PRIME EVIL 1988.