Category Archives: Films Released in 1974
IT’S ALIVE
IT’S ALIVE-United States-1974

Sharon Farrell as Lenore
Written and Directed by Larry Cohen
This isn’t going to be a long, drawn out review. I first saw It’s Alive back when I was 14, maybe 15 years old. It’s not like I’ve forgotten the plot of the damned movie. How hard is it to remember the plot of a film in which a lovely couple delivers an infant with sharp teeth, razor claws and a Tweety Bird head that crawls around town slaughtering people and hiding from the cops; all the while trying to get to mommy for what one would assume is a little boob milk action? The little monster does drink milk, after all. He also eats milkmen. Did I mention that daddy has disowned the little monstrosity and is anxious to put a bullet in its head? Isn’t the bond between a father and his son (it’s a boy) such a beautiful thing?
I remember my friends at school talking non-stop about ‘that killer monster baby’. Not having the coolest parents I was not allowed to see It’s Alive until three years after its initial release. Hell, I saw it on TV; so it may have been even longer than three years. I watched the movie again last night as a refresher and I came to a few conclusions. One, the movie wasn’t the least bit scary at 15 years old and 35 years has made no difference. Two, I think John Ryan (Bound, Runaway Train) was on Valium while making this movie. He mumbled so much that I had trouble understanding him with earphones and the TV volume on 80! At least mom (Sharon Farrell, Can’t Buy Me Love) had an excuse for her goofy demeanor; she’d just had a Caesarean section after giving birth to Tweety-head; so she was supposed to be heavily sedated. Thirdly, they never give you a clear look at the little slasher. A head shot here, a shot of teeth there, some claws. The camera also switches to double vision for the tiny terror’s point of view.
On the good side it was fun to revisit a film from my youth. On the not so good side I just wish it had been more scares and less mumbles. Finally, I mentioned my parents earlier. This isn’t the first time I have and it will not be the last. I think they were worried that I would become this kid who would warp into this grown-up who watches horror movies and reads scary books all the time. Son of a bitch, they were right!
TRIVIA
Bernard Herrmann titled the music cue where the milkman meets his demise “The Milkman Goeth.”
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YOUNG FRANKENSTEIN
YOUNG FRANKENSTEIN-United States-1974

Gene Wilder as Dr. Frankenstein

Marty Feldman as Igor

Teri Garr as Inga

Madeline Kahn as Elizabeth
Directed by Mel Brooks
Screen story and Screenplay by Mel Brooks and Gene Wilder
Based on the novel “Frankenstein, or the Modern Prometheus” by Mary Wollstonecraft Shelley
I’m not going to make this a long, drawn out review. Looking back, this is probably the first time I have ever reviewed a comedy so I’m not really even sure if I’m doing this right. It’s easy to talk about a funny movie when you’re with your friends. You can act out scenes from the film and quote your favorite quotes; but putting all that down on paper and getting that humor across to your readers is another thing altogether. So, the next paragraph will be me doing my best to review a film that has become a comedic classic. I hope I got it right. If not, then be gentle with me.
When “Young Frankenstein” made its debut Mary Shelley rolled over in her grave…from laughter. The ghost of James Whale did a spit take. Somewhere, the spirits of Boris Karloff, Elsa Lanchester, Colin Clive and Dwight Frye sat eating popcorn, sipping Pepsi’s and giggling their asses off. “Young Frankenstein” is a classic of the comedy genre. As Doctor Frederick Frankenstein, Gene Wilder leads one of the most talented and hilarious casts through a riot of a film that will leave your sides splitting with laughter. Marty Feldman, Teri Garr and Cloris Leachman all take their turns in stealing the spotlight. Peter Boyle as the monster is nothing short of casting genius. As for Madeline Kahn as Elizabeth, all I can say is that she was one of the funniest women to ever walk the face of this earth. With a nod of her head or a blink of her eye she could make you laugh harder than some comedians can in an entire stand-up routine.
Okay, so I said one paragraph. But let me close with this; with “Young Frankenstein”, Mel Brooks did to the horror genre the same thing he did with “Blazing Saddles” and the western genre earlier that same year. He made a hilarious parody without once being disrespectful of the original source.
TRIVIA
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RABID DOGS
RABID DOGS-Italy-1974
Directed by Mario Bava
Screenplay by Alessandro Parenzo
“Rabid Dogs” is an intense thriller that packs more claustrophobic, sweltering action into 90 minutes than Michael Bay has packed into his entire career. What’s even more amazing is that most of the action takes place within the confines of a small white car filled with three desperate men and their prey; a woman, a man and a sick child in need of medicine. The three men are on the run from the police and their abductees are in the wrong place at the wrong times as they usually are in movies like this.
Mario Bava’s film has been compared to Quentin Tarantino’s “Reservoir Dogs” and I guess I can understand the comparison. Both films are about the aftermath of a botched robbery/escape attempt, both feature the abduction of innocent(s) and both feature characters that are cruel and without moral foundation. In “Reservoir Dogs” it is the razor wielding Mister Blonde; in “Rabid Dogs” it is Bisturi and Trentadue (Thirty-two). Like the title implies, they are men needing to be put down.
However, the main difference in the two films is the twist. Tarantino lets the audience in on the secret early in the film. With “Rabid Dogs” Bava never once lets us in on the secret and the final scene in the film is a complete surprise. For a director to have that kind of control over a film is a work of genius and it’s no wonder that Bava was compared to Hitchcock throughout much of his career.
“Rabid Dogs” is not an easy film to watch. There are scenes in the film that I hated at first; but then came to realize that they are necessary in conveying the cruelty of the characters. In the end, my final assessment of the film is that if you can find it, watch it.
TRIVIA
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Black Christmas (1974)
BLACK CHRISTMAS-Canada-1974

Directed by Bob Clark
Written by Roy Moore
Starring
Olivia Hussey as Jess
Keir Dullea as Peter
Margot Kidder as Barb
John Saxon as Lt. Fuller
Black Christmas is the prototype for the modern day (1980′s to the present) slasher film. The film takes place on a holiday and features a group of sorority girls and their house mother. One by one they are murdered by an unseen killer who terrorizes them after each murder with obscene phone calls. One of the girls, Barb, played by Margot Kidder, is the template for the teenagers who would be hacked, slashed, and diced by the likes of Michael, Freddy and Jason. She drinks, has a foul mouth (in a hilarious scene, she tells the desk sergeant at the police station that the number to the sorority house is Fellatio 2880) and is more than likely sexually promiscuous. Olivia Hussey plays Jess, the final girl. For those of you who don’t know, the final girl is the last girl to either live or die in a slasher film. She is also the one who finds all or some of the bodies of the previous victims. You could also say that Hussey was the prime example of how the final girl should look as she is very beautiful in a wholesome sort of way. The killer, Billy, is never seen and the film is left wide open for a sequel the same way Friday the 13th, A Nightmare on Elm Street and Halloween were left open. This is not to say that it’s a bad film or that its predictable. It is quite a good film and the only way it is predictable is that we’ve seen the exact same thing time and time again in the movies that followed it. This is a very good film and I highly recommend it to anyone who wants to know just exactly where their favorite slashers got their start. Billy was their teacher and he was a good one.
TRIVIA
Keir Dullea worked only for a week on this film, never meeting Margot Kidder and barely meeting John Saxon, but the film is edited in such a way that he appears to be present throughout.
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