whet the appetites of those American fans who dared to spring for the previous import, and certain crucial titles will have to wait for a second volume. While Redemption’s packaging strangely lists and positions the films out of sequence (the earli- est title displayed as the third fea- ture out of four), the discs can, naturally, be played in any order and are listed here chronologi- cally for the sake of convenience. The inheritance thriller DIE SCREAMING MARIANNE (1971, 100m 39s) isn’t exactly a hor- ror movie, but the title alone en- sured its status as a “Creature Feature” perennial all the same and it ought to be considered first when examining Walker’s genre career. Those wondering how this dated item survives the transfer to Blu-ray will be happy to hear that it passes the acid test (the bright red title sequence over which Susan George go-go dances with much enthusiasm)
with flying colors. Ported over from the UK release are the the- atrical trailer and Walker’s fea- ture-length commentary as moderated by Jonathan Rigby. New to this set is what prom- ises to be the first half of a two- part retrospective. “Pete Walker: An Eye for Terror, Part 1” pro- ceeds as expected, prompted by interviewer Elijah Drenner (who inaudibly hosts all of the new supplements to be found here from Walker’s California home) but breaks no new ground for the seasoned viewer, and turns over no new dirt on MARIANNE specifically.
HOUSE OF WHIPCORD (1974, 102m 9s) also fares reasonably well on the road to Blu-ray, though the predominantly dark and dingy settings give it few opportunities to truly shine. The film is also plagued by some brief audio mis-synchronization to- wards the end. The UK commen- tary track pairing Walker with
DOP Peter Jessop (moderated by Steven Chibnall) is retained, as is the trailer. New here is “Per- versions of Justice,” in which Walker tells Drenner that his right-of-center personal politics may surprise some people in light of this particular film (though he doesn’t consider himself an ex- tremist in either case) and that some crimes aren’t properly pun- ished on either side of the Atlan- tic. Unfortunately, the major shortcoming of this set is that it doesn’t allow the viewer to im- mediately juxtapose WHIPCORD with its ideal co-feature FRIGHT- MARE (1974); as they respectively explore the severity and the lax- ity of the justice system, neither film seems quite complete with- out the other. With HOUSE OF MORTAL SIN/THE CONFES- SIONAL similarly absent (both films were included in the Anchor Bay UK set), HOUSE OF WHIP- CORD stands as the only film in the collection to give us the
As “Walker” Sheila Keith tends to Ann Michelle’s wounds in HOUSE OF WHIPCORD, included as part of Redemption’s THE PETE WALKER COLLECTION.
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