For our second “Critic Exchange” (Read 1st exchange Here) we decided to go retro and do a switch with one of my favorite websites Retro Slashers. Make a long story short, I screwed it up. So here is Thomas Ellison’s review of “Homicidal” we of course don’t have ours ready yet, but Royce shoud have a review of “Cutting Class” soon! - WIL
If Psycho is the grandfather of the slasher film, then Homicidal should be considered the crazy great-uncle of the genre. When William Castle, master showman and Hitchcock rival, saw the box office returns on Psycho he wasinspired to make a similar film. Castle handed the scripting duties to
frequent collaborator Robb (House on Haunted Hill) White. Then, Castle devised a great advertising campaign. Homicidal would feature a “Fright Break” so terrified audience members could run screaming up the aisles before the showing of the film’s ghastly conclusion. Anyone too frightened
to finish the viewing could receive a complete refund but had to stand in “Coward’s Corner” first.
A mysterious blonde (Joan Marshall hiding behind the name Jean Arless) checks into a motel and offers a bell hop $2000 for a quickie marriage and divorce. During the late night ceremony, the blonde pulls a knife from her purse and guts the justice of the peace like a hog before escaping in a
stolen car. The blonde is soon revealed to be Emily, a nurse charged with the care of Helga, an old cripple left mute from a stroke, and Warren, a wealthy young playboy destined to inherit millions from his father’s estate in a few weeks. Warren’s sister Miriam (Patricia Breslin) is worried Emily
is plotting Warren’s death but Warren refuses to listen to his sister’s allegations. Emily has murder on her mind, alright, but her plan is much more devious than anyone could imagine.
At first glance, Homicidal appears to be just another Psycho imitation with a Marion Crane clone acting as killer instead of victim. But Homicidal can stand on its own because of the incredible twist ending and Castle’s showmanship. Besides including a Fright Break right before Homicidal’s conclusion, Castle also adds more violence and blood to the murder scenes. These murders are tame compared to slasher films from the 1980’s but they horrified audiences in 1961. Castle also throws a quick jab at Hitchcock by naming the first victim Alfred and casting a heavy-set, bald man to play the part.
The dvd from Columbia Pictures features a nice documentary on William Castle and the making of Homicidal. Don’t watch the documentary first because it features several major spoilers and gives away the ending. Director Fred Olen Ray and horror fans Don Glut and Bob Burns are interviewed and
reminisce about the first time they watched Homicidal in a theater and the audience reaction to the interactive experience. The documentary is dripping with nostalgia and makes the viewer long for the days of old when producers and directors used creative titles, ad campaigns, and movie
posters to lure audiences.
William Castle is remembered today for House on Haunted Hill, The Tingler, 13 Ghosts, and his production work on Rosemary’s Baby. Homicidal is largely ignored by critics when discussing Castle’s career, which is a shame considering Homicidal is really a good film. Joan Marshall’s performance,
while overly theatrical when brandishing a butcher knife, gives Homicidal an added edge of intensity and seems to have had a minor influence on Girls Nite Out. Homicidal is definitely a good time for fans of old school horror and early slashers. - Thomas Ellison
The “Critic Exchange” is about spreading our love for horror and introducing fans to both new and older horror gems. We just want to share our passion for horror movies and are happy to be part of the horror community. We believe horror publications should work together and have fun doing so! - Fatally-Yours.com
