Octaman, or Octamaaaan, like Johnny Depp would have said it, is exactly what you think it is – a mutated, cheesy-looking octopus humanoid who shuffles around and kills people, played by a poor actor who can barely see shit through the costume. Yep, it’s one of those films. This is the type of vintage Z movie amateur campy schlockfest that could easily be mistaken for a lost Ed Wood film. And if you get some strong Creature from the Black Lagoon (1954) vibes, you’re not wrong. Octaman is written and directed by Harry Essex, who also was a co-writer of said film.
The plot is something like this: we follow Dr. Torres as he goes on an expedition with a small crew to a primitive Latin fishing community in Mexico to uncover some atomic radiation. And they, of course, encounter Octaman, who’s actually credited in the opening sequence as Octaman, not the actor, just to add some extra flavor of mystique. It worked with Boris Karloff with Frankenstein way back in 1931, but here, though, with the cheesy costume and all that doesn’t even fool a blind person, it’s just comical. Anyway… Octaman starts to stalk and kill people one by one.
Octaman goes pretty fast into the monster action. And I’m using the words “monster action“ very loosely here, because there’s nothing much to get excited about, except for having some laughs at its overall incompetence, as the action has the impact like a pillow fight in your sister’s bedroom. The way Octoman attacks its victims is pure retarded slapstick comedy. He leaves his bodycounts with open wounds and an eye that almost pops out of some poor dude’s skull, yet he only slaps them like a drunk bitch with his overlong rubber suit tentacles as he also struggles to not lose balance. He’s as intimidating as, well, Octaman. Fun stuff. The monster costume was designed by the one and only Rick Baker, who later became one of the most prominent effect makers in Hollywood. This was his very first gig, and… we all have to start somewhere.
Writer and director: Harry Essex Country & year: Mexico/USA, 1971 Actors: Pier Angeli, Kerwin Mathews, Jeff Morrow, David Essex, Jerome Guardino, Robert Warner, Norman Fields, Read Morgan IMDb: https://www.imdb.com/title/tt0067515/
The most intriguing aspect about this hopeless misfire of a motion picture is that the writer and producer, Frank R. Saletri, was a Criminal defense lawyer who woke up one day and decided he wanted to work in the movie business and become a monster movie mogul. Yeah, we all have to start somewhere – but: he had big hopes that Blackenstein would latch on the success of Blacula (1972) and already had the scripts for two sequels ready to shoot: The Fall of the House of Blackenstein and Blackenstein III. One of the sequels would have the alternative title The Black Frankenstein Meets the White Werewolf. Sounds fun, but that never happened as Blackenstein ended up like something Ed Wood would make during his drunken feverdreams after binge drinking all cocktail bars in Hollywood. And no, that’s not the former mayor of Chicago we see on the cover, it’s none other than the legendary Joe De Sue. Joe De who? He was a client of Saletri and a perfect definition of a non-actor. But both Frank R. Saletri and first-time director William A. Levey seemed optimistic.
Eddie Turner is a war vet who got his feet blown off after stepping on a mine in Vietnam. The more optimistic wife, Winifred, knocks on the door to Dr. Stein’s villa and private hospital in Hollywood Hills to ask for him to fix Eddie. And just for clearance, Dr. Stein is a white dude, so don’t get further confused by the full title Blackenstein The Black Frankenstein. After Eddie get transported to Dr. Stein’s lab, the shady assistant Malcomb falls in love with Winifred, and in jealousy tries to make sure that Eddie dies by messing with Dr. Stein’s lab equipment. Well, that doesn’t go as planned as Eddie wakes up, looking like a cheap cosplay version of a familiar monster.
Blackenstein wakes up in some random dungeon we’ve never seen before and shuffles his way through the lab as he makes some weird snoring sound where the term “sleepwalk through“ gets its fullest meaning. We see him walking through some empty hospital corridor in the slowest pace possible to drag out some extra screentime, until he approaches a patient we see gets killed by the monster behind the bed curtain in silhouette. And the effects are probably more lousy than you’d expect.
There’s absolutely nothing that works in this turkey, other than Blackenstein being a perfect study in inept filmmaking while having some cheap laughs. Sunny days suddenly transform to thunderclapping nights and actors who perform the stiffest and driest dialogues in the style of a Hanna-Barbera cartoon. No colorful and offensive ghetto talk here, unfortunately. The editing is a trip in itself which makes Blackenstein teleport himself back and forth to his dungeon cell between his murder sprees, completely unnoticed. And why would he go back to his cell? I guess the script just said so.
We also have a brief shot of some bare breasts and a complete random scene in a bar with some comedian.
Blackenstein didn’t hit the pulse on the blaxploitation market and writer Saletri wouldn’t work on a film again, nor his client Joe De Sue got any phonecalls from Tinseltown. Saletri still wrote several scripts which included two Sherlock Holmes films titled Sherlock Holmes in the Adventures of the Werewolf of the Baskervilles and Sherlock Holmes in the Adventures of the Golden Vampire where he had Alice Cooper in mind to star as Dracula. Sounds completely batshit and epic. And speaking of Sherlock, Saletri was later a victim of an unsolved murder mystery when he was found dead in his mansion (formerly owned by Bela Lugosi) in 1982. The police described it as “gangland style“. So maybe it’s fair to ask what some of his former clients have been up to lately. Let’s start with the guy he failed to make a movie star of, Joe Dee… what’s his name again?
Director: William A. Levey Writer: Frank R. Saletri Original title: Blackenstein The Black Frankenstein Country & year: USA, 1973 Actors: John Hart, Ivory Stone, Joe De Sue, Roosevelt Jackson, Andrea King, Nick Bolin IMDb: www.imdb.com/title/tt0069795/
A lady called Mad Dolly is being chased by some mob in a forest who believe she is a witch. She gets captured and about to get burned at the stake, on order by Lord Garrick. Before they get the chance to lit her on fire, she gives her final speech with silly facial expressions, and summons some demonic forces that causes one of the executioners to catch fire, and then all hell breaks loose. Lord Garrick runs back to his mansion where an arm bursts through the wall and strangles him. Lady Garrick, who wanted to see Mad Dolly dead more than anyone else, finds her Lord dangling from the ceiling. The Lady is then confronted by a resurrected and vengeful Mad Dolly, who chops her head off and gives the most cheesy, evil laugh ever. And only eight minutes in it’s fairly okay to ask what the hell this is.
What we just saw was the ending sequence of the fresh, new supernatural horror film by James Garrick, which he screened for some of the cast members. What a load of rubbish, says one guy in the audience. The film is supposed to be based on true events that happened to James’ ancestors 300 years ago, and he has inherited the mansion from Lord and Lady Garrick. The inheritance includes the most important item of all: the sword that chopped the head off the Lord, hanging over the fireplace. While James is throwing a party in his inherited mansion, we meet Gary who can’t stop bragging about who great he is to hypnotize people. He gives a demonstration on Ann, a struggling actress who works for James. Things gets an unexpected turn when she slips into full trance, and picks up the sword and tries to attack James. Ok, party’s over! After she wakes up, she runs out the door and back to the hostel where her roommate sees her on the bathroom, washing her hands for what we can assume is blood.
And the morning after, James’ girlfriend Carol is found dead near the woods, knifed to death. James highly suspects that Ann did it after she tried to stab him with the sword the previous night and is determined to expose her.
This is an odd, little film, made by the English horror film director Norman J. Warren, known for his obscure low-budget exploitation flicks such as Satan’s Slave (1976), Outer Touch (1979), Inseminoid (1981) and Bloody New Year (1987). With Terror he wanted to make something new since the horror films at that time was pretty much the same, and he took a lot of inspiration from the new wave of Italian Giallo films and his new favorite, Suspiria. The inspirations are clearly visible for sure, with the use of colors, but as a whole there isn’t much new to behold here. And that’s a shame since there’s some potential here with its flexible camera work, gothic imagery and classic, gloomy atmosphere with fog machines and all. It has the visual package, but the script turns it into an unfocused mixed bag of supernatural horror, whodunnit mystery, slasher, cheese and sleaze and God knows what, stitched together frankenstein-style with several long and pointless scenes that drag on for too long.
One of the highlights is the scene with Peter Mayhew, who played Chewbacca in a certain film called Star Wars the year before. His appearance comes in the most unexpected moment, it took me completely off guard. And there’s also a scene with a nude stripper in a sleazy bar in London, a long and pointless filler scene. Director Norman J. Warren added this in to make the film more commercial. And he’s really determined to give us shots from all different angles and close-ups so we can enjoy some fresh nudity and forget the rest of the movie for some minutes. But it seemed to work, though, since Terror became a box-office success in England after its release, despite the censorship from Video nasty. A fun little nugget of trivia: the stripper in the film was a real stripper they had to hire because the other stripper who auditioned for the scenes seemed too tired and bored. “She was indeed sexy and scary“, Warren said, and her act was so outrageous, they had to cut part of it because there was no way the censors would let it through.
There’s some decent gory moments here, such the traditional knife stabbings, glass panels that falls and chops off a head, a drunk dude who gets fence stabbed and then crushed in a garbage truck. Awesome. And then we have…a flying car. Ok, I didn’t expect that one. The last four minutes is the best part which at least ends with a great, colorful and crazy climax. Not a terrible film, but not great either. As a 70’s oddity it works fine as a curiosity, I guess, and it has its moments. Terror is available on Blu-ray/DVD Combo on amazon.com
Director: Norman J. Warren Country & year: UK, 1978 Actors: John Nolan, Carolyn Courage, James Aubrey, Sarah Keller, Tricia Walsh, Glynis Barber, Michael Craze, Rosie Collins, Chuck Julian, Elaine Ives-Cameron, Patti Love, Mary Maude, William Russell, Peter Craze IMDb: www.imdb.com/title/tt0141897/