From http://ayay.co.uk/backgrounds/b_movie_posters/ 1960s/THE-UNDERTAKER-AND-HIS-PALS.jpg |
Director: T.L.P. Swicegood
Screenplay: T.L.P. Swicegood
Cast: Warrene Ott (as
Friday/Thursday); James Westmoreland (as Harry Glass); Marty Friedman; Sally Frei (as Ann); Rick
Cooper
A Night of a Thousand Horror (Movies) # 14
Post Blood Feast (1963), when gore first made its real impact American
genre cinema, The Undertaker and His
Pals starts with three masked motorcyclists breaking into a woman's
apartment and killing her, stealing a leg or so for their nefarious means with red
paint blood split . The photograph of her sailor boyfriend reacts to all this
with a variety of horrified expressions as he watches on, the same ghoulish
humour here as in Herschell Gordon Lewis'
splatter films. Like Blood Feast,
this is a one hour long film about cannibalism, an undertaker and two dim-witted
owners of a rundown diner killing people (mainly women) to improve their
businesses, the undertaker able to charge ridiculously expensive funeral costs
for the victims and the diner owners able to supply their courses with cheaper
meat. It does emphasis that, once the door was kicked down in terms of adult
content - gore, sex and nudity etc. - sixties American cinema got even more
stranger as small independent companies churned out these exploitation films,
and that's before the decade changed to the seventies and even stranger
materials were produced. The film gets weirder from the
opening, but whether it's a detriment to the film or for future enjoyment on re-watches
is entirely vague for me, especially from how much slapstick there is between
the gruesome content. This silly humour works at points, like the unfortunate
person who's dunked into a vat of acid, but you also have the undertaker
accidentally stepping on a skateboard and gliding along a long stretch of
street in a moment of Jerry Lewis
slapstick.
The result feels like a mutated
cross between more older innocent films in its comedic content and tone, like
the cast waving to the viewer in the end credits in their various forms of
death, really stands out against the violence and sick humour. Not only, while
sparse, is the gore actually quite gruesome for its time and the film has a
misanthropic streak that tonally jars against the broad humour. Blatant sight
gags, puns and absurd jokes, such as actress Warrene Ott playing twins named after the days of the week,
contrast against some of the more eyebrow raising content, such as how main
hero detective Harry Glass (Westmoreland)
glibly accepts that his lovesick secretary has been killed and is immediately
lusting after women after her death, part of the continuing question of where
the film's gender politics lay. Particularly when the film has an intentionally
exaggerated tone, the undertaker played as flamboyantly as possible with his
two cronies as dumb as you could get, the moments of meanness in the humour or
sights such as someone getting run over by a truck really do stick out more. No
surprisingly to match this the ending is a series of absurdities of increasing
insult to injury and a door literally backfiring for someone. This tonal discrepancy,
between the sick humour and moments of innocence, is likely to charm many as it
is to baffle others. It's a step higher in quality than some of Herschell Gordon Lewis' work at this
time, but is still likely to even baffle some diehard fans of this weird type
of American exploitation cinema.
From https://horrorpediadotcom.files.wordpress.com/2013/05/under6.jpg |
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