John Carradine displays the same reaction most viewers will have to Al Adamson's unbelievable mishmash BLOOD OF GHASTLY HORROR.


heading out to Lake Tahoe in search of the vacationing Mrs. Clarke. Jumping back to the present, Cross is visited by Vanard’s daughter (Regina Carrol —no family resemblance here!), which leads him to learn of Corey’s father, Elton (Kent Tay­lor). Having spent years “ in the


jungles of Jamaica,” Elton has mastered voodoo and is using a zombie to eliminate those who played a part in his son’s death. This leads to another long flash­ back, in which the Corey plot is wrapped up, and then, finally, a climax for the present day story! It plays about as well as it reads, though ECHO OF TERROR looks like it might be worth catching someday, if the opportunity ever arises. BLOOD OF GHASTLY HOR­ROR was issued in 1985 by Su­ per Video in a horribly cropped/ squeezed transfer that seriously marred the original 2.35:1 com­ positions. We are unable to com­ pare the tape to the DVD, but it looks like the exact same mas­ ter has been used, making the movie a chore to get through. The image looks ugly, with flat colors, heavy grain, and poor


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contrasts, and the night scenes are usually incomprehensibly dark. The sound is passable. Sherman mentions in his com­ mentary that he still has a few old 35mm prints of the picture and, even with the wear and tear they would have accumulated over the years, a letterboxed transfer with some digital clean­ up could (and should) have been performed. He also hopes to re­ store ECHO OF TERROR and


make that and/or PSYCHO A GO-GO available on video sometime in the future; either of those would have made for a more worthwhile release than this out­ dated eyesore. Sherman also dis­ cusses GHASTLY HORROR’S long, convoluted history (though he neglects to mention the American General release), along with some other interesting an­ ecdotes. Most notably, we learn why some of the new footage looks so tightly framed, causing close-ups to fill the TV screen to an ungodly degree. The final re­ shoots were done on a standard four perforation negative (with each shot composed for the middle two perfs) and then opti­ cally converted to match the two- perf Techniscope process. It was then re-converted to four perf an- amorphic, adding yet another extra generation, so watching it on video, enlarged and with the sides lopped off, is not unlike looking through a screendoor with one eye closed. Better known under its the­


atrical title GIRLS FOR RENT, I SPIT ON YOUR CORPSE was undertaken by I-I to capitalize on the success the company


Rosalind Miles is a hitwoman forced to comb the desert in search of a runaway prostitute in I SPIT ON YOUR CORPSE.

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