A self-explanatory sales pitch for Sonny Chiba’s drive-in hit THE BODYGUARD.
fast cutting here); the hilari- ously misleading spot for CHAIN GANG WOMEN (which features only male prisoners); the spectacle of seeing Pam Grier and Margaret Markov (and hearing Pat Starke and Yvonne Pizzini doing their voices) in New World’s cut- rate peplum THE ARENA (with Ron Gans’ narration being sure to invoke their previous teaming in BLACK MAMA, WHITE MAMA, which turns up in GTC3); a great looking spot for TENDER FLESH (aka WEL- COME TO ARROW BEACH) which is currently impossible- to-find in a good quality, com- pletely uncut edition; and SNUFF, an abject lesson in how to transform an essen- tially unreleaseable movie into the most controversial item in ages. Finally, the latest offer- ing serves up NAZI LOVE CAMP 27 in a masterful use of the old “We can’t show you this because it’s too graphic!” ploy; Antonio Margheriti’s cannibal fest INVASION OF THE FLESH HUNTERS (“It’s an epidemic of killing, turning the streets into a slaughterhouse
and the city of Atlanta into a bloodsoaked graveyard!”); a piercing spot for Jess Franco’s twisted erotic horror LINDA (aka LORNA THE EXORCIST); Femi Benussi as TARZANA, THE WILD GIRL (“She swings through the jungle as naked as the animals!”); the stark and exciting spot for MACON COUNTY LINE that un- doubtedly helped turn it into one of that year’s sleeper hits; and the horribly edited but fascinatingly trashy spot for the Taiwanese horror/mondo yarn SUCCUBARE.
The discs (which made it through the BBFC intact, save for #3, which was cut by 1s to remove an instance of horse tripping) include featurettes, with first volume hostess Emily Booth (EVIL ALIENS) offering a lively 18m grindhouse the- ater experience overview writ- ten by NIGHTMARE USA author Stephen Thrower, who turns up to handle similar duties in the second batch. Thrower’s talk (10m) covers his early trash movie going experiences, the rationale behind his celebration of fringe horror filmmakers in NIGHTMARE USA, and the com-
mon selling techniques used in trailer narration. Finally, VW’s own Kim Newman turns up for 15m on the third set to assure us that there were indeed grind- houses in Britain, while express- ing his love for some of the genres present (we are simulta- neously surprised and not sur- prised to hear that Kim would happily line up for the latest Claudia Jennings or Jesse Vint southern fried actioners) and la- menting the loss of double bills. Unusually for this sort of release, all of the trailers on each platter have optional English subtitles for the deaf and hard-of-hearing, which per- forms the dual function of also allowing inclined viewers to en- joy their own brand of musical accompaniment while not miss- ing out on the endlessly hyper- bolic narration. Grindhouse poster galleries are also in- cluded, along with trailers for other Nucleus releases. The menus offer a nice montage of clips, but the cursor on GTC1 blends in with the backgrounds of some screens, making it dif- ficult to tell which option has been highlighted.
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