Breaking Point (1975)

The Green SlimeThe Swedish filmmaker Bo Arne Vibenius got some sweet taste of success and fame after his ultra violent rape/revenge film and magnum opus Thriller: A Cruel Picture became a hit at the Cannes Film Festival in 1974. One year later it was time for his next film, which was originally supposed to be a far more clean and commercial film for the mainstream surface audiences.


But something went wrong, you see. Horribly wrong.


Some sources say that it was issues with the financial part that forced Vibenius to take some quick and drastic decisions. Instead of cancelling the film entirely, he rewrote the script in two days and started shooting on day three with a handheld camera around the Stockholm area. The result is Breaking Point – a spiteful, mean-spirited, bleak as bleak can be, anti-commercial, morbidly hilarious and utterly mentally deranged little sexploitation flick which makes Thriller look like a sunny day in Disneyland. All shot in English dialogue with Swedish subtitles, just in case the film wouldn’t get banned in its home country, which it of course did. Hur tråkigt.


The film centers around a middle-aged man, Bob Bellings, who looks like a cross between Peter Sellers and Ryan Gosling, where anyone with eyesight can spot his big red flags waving miles away. He’s a working stiff wearing a suit and tie at an office in a high rise building in the middle of the city, where his days consist of stamping documents. Another thing that’s stiff is his cock, and he has to stick it in someone and rather NOW before his ballsack explodes! When he’s not sitting around and fantasising about his female coworkers undressing in front of his desk or sucking his dick, he uses his free time to rape and murder women around the local area. When he can’t control his urges at work, he has the lunchtime to “do some errands”. The film starts with his first victim whom he stalks and assaults in her apartment. He smashes her skull with an ashtray and rapes her dead body.


Breaking Point


If this wasn’t bad enough, Belling then sees a psychologist on TV who has the brilliant theory that all women have a deep, inner desire to get raped, only if you don’t kill them. Alrighty then. Now that his actions feel way more morally righteous (for lack of a better term), it’s time to extend the horizon by buying a car and heading out to the countryside to hunt for more pussy to drill. His car plate has the letters CUW (yes, with a W) just to make it obvious in a sarcastic way that his psychotic journey into pure nihilistic perversion and beyond has just begun where no one on his destructive path is safe. All I can say is just get ready for a lot of absurdity, a lot of unpleasant hardcore fucking, oral sex, reckless driving and even some hints of – TRIGGER WARNING – pedophilia.


What Breaking Point and Thriller have in common is the authentic porn scenes. But this one goes overload, to put it that way. During Bob Belling’s hazy and dream-like odyssey we can also ask what’s real and if we’re just witnessing some deep, obsessive rape fantasies from the mind of a disturbed man. Not quite easy to tell. We can also ask if the raw, impulsive and overall chaotic nature of Breaking Point is a reflection of a very troubled and angry director who’s going through an epic storm of a mental collapse or a serious existential crisis while he goes all the way to self-sabotage his own film career. This was his last film, so in that case, he succeeded.


Andreas Bellis, who mainly works as a cinematographer, has his first and last main role as the killer/rapist Bob Bellings, here under the fitting pseudonym Anton Rotchild. With his thin hair, big glasses in front of his death-staring eyes, stone-cold face and of course the big mushroom for the ladies, he certainly looks the part which he seems to embrace every second with no problem, flashing his erect dick left and right and exposing himself in the explicit hardcore porn scenes. Even though the porn is as straight-forward as can be, the film is done with the most pitch-dark cynical sense of humor, with layers of satire and some social commentary where American Psycho meets Falling Dawn in a bushy glory hole. The ending is absolutely bonkers.


And speaking of pseudonyms: names such as Oscar Wilde, Adolf Deutch and Urban Hitler can be seen in the opening credit scene. Because why not …


Although Vibenius was confident enough to get Breaking Point screened at the Cannes Festival which turned out to be a complete disaster shitshow, he feels to this day very bitter about the film and wants no one to see it. Can I blame him? Maybe, maybe not. He went as far as to do his very best to erase the film entirely from its existence by stopping it from spreading on the bootleg market. So no, Breaking Point will never get a physical dick-release and is as obscure and rare like a snowball in hell. The only place to watch it online as for now is on the porn site spankbang. Have fun!


Breaking Point Breaking Point Breaking Point


Director: Bo Arne Vibenius
Writers: Bo Arne Vibenius, Nat Sharp
Also known as: Breaking Point – En Pornografisk Thriller
Country & year: Sweden, 1975
Actors: Andreas Bellis, Barbara Scott, Jane McIntosch, Susanne Audrian, Bertha Klingspor, Marlyn Inverness, Liza June, Adolf Deutch, Joachim Bender



Tom Ghoul













Breaking Point – Feature film from Vibenius on Vimeo.

Blackenstein (1973)

BlackensteinAh HELL Nah, It’s BLACKENSTEIN ya’ll, starring … Lori Lightfoot? Bruh..!


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


Tom Ghoul













The Asphyx (1973)

We meet Sir Hugo Cunningham who is an amateur scientist, and the time period is the end of the 1800s. He’s taking photographs of the dead, and have an interest in supernatural phenomena. Through photographing the dead with his newly invented camera instrument, he discovers strange spots on the photographs, that he later thinks could be an Apshyx: a ghostly entity that supposedly shows itself right at the moment when a person is about to die. Through several more experiments while having his macabre photo shoots with the recently deceased, he also gets to witness and film an execution through hanging. Through this it is revealed to him that the Asphyx can be captured by the light rays that emits from his camera invention, and when a person’s Asphyx is captured, this person becomes literally immortal and unable to die. His first test is done on a guinea pig, and when he discovers that it works, the temptation of achieving eternal life becomes too great and he decides to capture both his own and his family’s Asphyxes. But will this really lead to the bliss of immortality, or will there be dire consequences?


The Asphyx is an old-fashioned horror movie that can be considered to be on par with many of the Hammer horror movies, with its gothic atmosphere and scenery which is making the film a visual treat. However, similarly to the classic Hammer films there’s an abundance of dialogue and a rather scarce amount of any action. The strength lies in the movie’s rather interesting and quirky concept, together with the gothic visuals and convincing Victorian cinematography (done by Freddie Young) so if you’re familiar with this type of movie setting and can appreciate it for its attractive production design and its Poe-style gothic tale of death, loss and grief, mixed with scientific curiosity which eventually leads to obsession, then you’re in for a treat. It’s yet another tale of an upper-class scientist coming upon a discovery that offers a chance for him to play God…and of course, the decision to do so comes with dire consequences.


The special effects of the Asphyx itself and how they try to trap it, really reminds me of something that could have belonged in a Ghostbusters movie, although that isn’t necessarily a bad thing. It’s lightly spooky rather than creepy or frightening, and the movie even comes off as slightly silly at times. Also, the pacing might be a tad bit too slow for a modern audience…but if you like classic gothic horror films, this Hammer-esque film is definitely worth a watch.


The Asphyx


Director: Peter Newbrook
Writers: Christina Beers, Laurence Beers, Brian Comport
Country & year: UK, 1973
Actors:Robert Stephens, Robert Powell, Jane Lapotaire, Alex Scott, Ralph Arliss, Fiona Walker, Terry Scully, John Lawrence, David Grey, Tony Caunter, Paul Bacon



Vanja Ghoul













The Evil (1978)

The EvilThe caretaker Sam is about to check on a big, empty, victorian house that was built during the civil war, and is now filled with dust and cobwebs. It’s broad daylight and he’s still scared shitless to go inside. He starts right away to hear noises that leads him down to the basement (of course) where he suddenly bursts into flames and never gets heard from again. Then we get introduced to the couple C.J and Carol, two doctors who buys the house and plans to open it as a rehabilitation center. The house is in need of fixing and the doctors gathers a team to do the renovation work. And nothing goes wrong from here on. Just kidding.


Since the house is filled with ghosts, Carol soon discovers her ability as a clairvoyant, and starts to see ghosts just minutes after they enter the house, which only she can see. Her husband, C.J, doesn’t believe her, of course. Statue heads starts to move by themselves, fireplaces suddenly lit up, and they find the body of Sam, hidden in a dumbwaiter, crisp as a fried chicken. And as C.J opens a mysterious trap door in the basement, which unleashes diabolical forces, the house locks itself down and traps everyone in it.


The Evil is a film that you can call an “obscure little gem”, co-produced by Roger Corman. The setting in the old mansion is pretty cool, which gives a great place for a cat-and-mouse scenario where our characters are being terrorized by an evil unseen  force. People are being electrocuted by flying wires, one of the ladies gets brutally assaulted, Invisible Man-style, while we hear a cheesy, evil laugh in the background. Even though the directing is real solid and stylish with a raw, thick 70’s atmosphere, I couldn’t call it scary, but it has a lot of unpredictable entertainment value, and has a complete oddball ending that took me off guard.


The Evil


Director: Gus Trikonis
Country & year: USA, 1978
Actors: Richard Crenna, Joanna Pettet, Andrew Prine, Andrew Prine, George O’Hanlon Jr., Lynne Moody, Mary Louise Weller, Robert Viharo, Victor Buono, Milton Selzer, Ed Bakey, Galen Thompson, Emory Souza


Tom Ghoul















Jack the Ripper (1976)

Jack The RipperIt’s a foggy night in London, where the prostitute Sally is on her way home from Cabaret Pike’s Hole. After some walking through narrow, dark alleys, she stumbles right into the hands of Jack the Ripper (Klaus Kinski) who rips her clothes off and kills her (off screen). He then carries her home over his shoulders like a dead deer, and brings her to his psychotic and slightly retarded wife Flora, who looks at the bodies he brings home with him as dolls, or whatever. The next day, Dr. Jack and Flora are rowing out into the  Thames River (here filmed in the Schanzengraben Canal in Zürich) to dump the body. Jack, who is working as a doctor, is then going to work as usual to take care of today’s patients, and perhaps snatch a new victim. At the same time Scotland Yard, led by Inspector Miller, is on the case.


Written and directed by the Spanish Jess Franco who was most famous (or rather more infamous) for his uncompromising and sleazy low budget exploitation- reels, often filled with tits, hairy pussies and pretty much the normal stuff that either cinema or TV in Spain usually refused to show. It never slowed down his creativity however, and made his films so quick and simple that he could pull out ten films in one year. Well, take that, Takashi Miike. A hardcore workaholic who obviously nearly worked himself to death, until he was hit by a deadly stroke in 2013. The 82-year-old left behind a track record of over 200 films. So it was pretty evident that I had to check out some of his work sooner or later.


The first impression here is not bad, the production value is up there with some great atmosphere. The rest, however, is nothing much to be impressed by. It clearly has nothing to do with Jack the Ripper whatsoever and the mystery/mythology,  so God knows what this movie really was supposed to be. The acting goes from wooden, bad to so-bad-it’s-funny, and was originally performed by German actors. It later got rather sloppily dubbed in post-production, in German, Spanish and English. The gore effects, which is a minimal aspect here, is nothing but a joke, and this is supposed to be the uncut version. Sorry, but I’m still not impressed. There’s one scene where Jack chops off one of the victims titties in which the effect looks like a burger with red paint on it. Uhm.. okay. That really sucked. Someone give Tom Savini a call, please.


And when it comes to the ending.. it’s actually so lame, anticlimactic and lazy that not even an ending credit or a simple “The End” is shown. It just ends. Which is good. I’m glad it at least ended..


Jack the Ripper


Director: Jess Franco
Country & year: Switzerland | West Germany | Spain, 1976
Actors: Klaus Kinski, Josephine Chaplin, Andreas Mannkopff, Herbert Fux, Lina Romay, Hans Gaugler, Nikola Weisse


Tom Ghoul























Nude for Satan (1974)

Nude for SatanDr. William Benson is driving late at night to reach a patient, and stops at a mansion to ask for directions. He learns that he must drive a huge detour and that the roads there are bad, and the man at the mansion offers him shelter for the night. As the conscientious doctor he is, he declines the offer and continues on. A lady in white suddenly stands in the way, and this forces Benson to swerve his car which makes it bump into a mountain wall. When he is going to check for the mysterious lady in white, she is nowhere to be to seen, but another lady suddenly crashes in front of him and lies unconscious in the car with a white blouse…which suddenly turns black in the next clip. Just five minutes in and a continuity error already. Impressive. Anyway, he carries her away and brings her back to consciousness by patting her on the cheek, like the doctor he is. But unfortunately he does not manage to start the car, and sees no other way than to return to the castle to ask for help. When he enters the castle the place looks abandoned, with trash, rats and covered furniture.


He then comes across an older guy who seems to have been stabbed to death, who glances at Benton with some crazy eyes as he asks “what can I do for you” and gives a sinister laugh. Okay, Dr. Benton, time to turn around, there’s no help to get here. Still, this is just a gentle start on the rabbit hole he has stumbled into. When he opens another door he witnesses someone who has a sex orgy with scenes of a blowjob, close-up penetration and lesbian sex. Okay. After seeing enough, he shuts the door and looks further around, and suddenly the woman pops up…the one he left in the car, with no signs of harm or discomfort. And she’s really happy to see Benson, as she rather calls Peter, as if she’s known him all her life, and gives some obscure lines that don’t make any sense. And just like the viewer, Mr. Benson is just as lost and confused and wants some fucking answers (pun intended).


As I said, a rabbit hole. And a hairy one. The movie actually starts out as a classic Hammer movie with thunder, rain and an old castle, but as soon as we see our protagonist, or whatever he is supposed to be, it quickly nosedives into a stumbling, incoherent obscurity of a demented sleazeball of a movie with x-rated porn scenes in between. The balance between horror and porn is completely off. It’s as if the writer and director Luigi Batzella couldn’t decide whether he wanted to make a traditional horror or a porn, but went for both with no clue how to blend it together, with a script that apparently was scribbled in a hurry on his palm between the shooting. With a title as “Nude for Satan” I expected a fair amount of tits and bushy beavers, but I was completely unaware this was actually a x-rated pornflick with close-up penetration and whatnot. But okay, what a pleasant surprise. So let’s just call it “Fuck for Satan”, then, to avoid further confusion.


Fuck for Satan is probably most known for a certain random spider scene. And I must say, it lived up to the hype. How can one not laugh at a fake, giant spider that seems to be made of a bunch of layers of cow dung? And to make it more realistic, just stuff some wooden branches into it and it got some really believable legs. Haha, oh my.. Fuck for Satan also has the most frantic use of zoom I’ve probably seen. As if the cameraman was clearly told to zoom in and out as much as possible to make  a desperate attempt to add some tone of surrealism or whatever. Well, I beg to differ. The movie isn’t trippy for one bit, just weird and messy with lazy directing, while the horror aspects fails as a blind, drunken sailor on an unicycle. And what does the space-like music have to do here? Is there a flying saucer wobbling from a string in the background somewhere I don’t see? Who knows. Who cares. But man, that spider scene..haha.


Nude for Satan


Director: Luigi Batzella
Original title: Nuda per Satana
Country & year: Italy, 1974
Actors: Rita Calderoni, Stelio Candelli, James Harris, Renato Lupi, Iolanda Mascitti, Luigi Antonio Guerra, Barbara Lay


Tom Ghoul

























Buio Omega (1979)

Buio OmegaFrank Wyler is a three-year-old boy living with his housekeeper Iris in a millionaire-villa in the country. Iris has taken care of Frank since his parents died in a car accident when he was young, and since then, the relationship between Iris and Frank has developed into something… rather bizarre and toxic, to say the least. After growing up living isolated with Iris, she is now using him as a sextoy by giving him a handjob while he sucks her tits like an infant… he’s gotten pretty messed up in his head. But when he finds the great love of his life in the much more beautiful Anna, Iris becomes mad with envy and goes to a voodoo witch/doctor to throw a curse over Anna in order to get rid of her. The curse works perfectly where she ends up in a hospital and dies, and Iris finally gets Frank for herself again.


However, this doesn’t last long since Frank drives straight to the cemetery the night after Anna’s funeral to dig up her body and take her back home. On the way back he gives a random young lady a lift, who falls asleep in his car. He brings his “corpse bride” down in the basement where a pretty graphic embalming scene takes place. The young lady wakes up and sees a glimpse of what’s going on before Frank tortures her by ripping out her nails, then he gets help from Iris who chops her body up in pieces and throws her remains in the bathub with corrosive acid. Iris saves some of the flesh which she and Frank eats for breakfast. Then, Frank goes jogging and meets a another young lady whom he takes home and have sex with. While having sex with her, he imagines he’s having sex with Anna, who lies in the double bed right beside them, covered in sheets. And then, the woman he brought home with him notices his dark secret…


Those who are familiar with sleazy, underground italian horror from the 70’s that were banned left and right around the world, will probably know the name Joe D’Amato, the man with as many pseudonyms as there is gender options on facebook. Buio Omega, or “Beyond the Darkness” as it’s called internationally, is one of his most known works. The film is a remake of “The Third Eye” from 1966, an other italian horror film which I haven’t seen, so I can’t come with any comparisons. But I doubt it is as sick, dark, raw and unfiltered as Buio Omega, which really tests the boundaries on what’s allowed to be shown on screen. Correct me if I’m wrong, though. Mutilation, necrophilia, cannibalism, detailed torture scenes and other taboo stuff with higly convincing gore effects that punches you in the nose.


The film takes itself dead seriously where there’s no room for imagination, which in this case could have turned it into a spectacular turkey, but despite its narrow budget it’s so well constructed that it works fine the way it is. It’s as gory as it is psychological, and explores the darkest corners of the human mind.


Also, great soundtrack by Goblin.




Director: Joe D’Amato
Country & year: Italy, 1979
Actors: Kieran CanterCinzia Monreale, Franca Stoppi, Sam Modesto, Anna Cardini, Lucia D’Elia, Mario Pezzin


Tom Ghoul