The Undertaker and His Pals

You gotta love this flick about funeral homes and greasy spoon dinners.I'm sure there's a message here but who cares? Canabalism was never so funny.Maybe I'm sick,but I loved it.What's not to like when a fresh killed victims body part is offered as a daily special at the dinner as the rest is displayed at the funeral home.Sick,yes,but done with flair.

This very well may be the first slasher film ever made, and the really weird thing, it is also the first parody of a slasher film ever made.

Therein lies a real social-historical problem: how can the film effectively creating the genre at the same time parody the genre, which doesn't come into existence until the film is released? First, a qualification: What makes a slasher film is extremely graphic gratuitous violence against helpless women, using a long knife as preferred weapon.

Arguably, the real "first" of the genre may have been "Psycho"; but "Psycho" was an exceptional film, and stands out from most of the rest of the genre. And it's in black & white, while a true slasher film requires blood-glaring color (which "Undertaker" has, and remarkably well-kept for its age). I prefer to think of "Psycho" as a precursor.

But "Undertaker" is, first of all, nothing special as a film. (It's just low-budget drive-in fodder, intended to be ignored by the teen-agers necking in the back seat.) Secondly, it takes sadistic-voyeur pleasure in showing us the violence and the blood. Finally, it shows self-consciousness concerning the sadistic-voyeurism, meaning that it is intended to appeal to the very worst instincts in its target audience.

And that makes it pure genre film - well, almost.

As I said, it is also a parody of this genre - in the most outrageous way. The sales pitch the undertaker offers potential customers is genuinely amusing, and the killers repeatedly debunk themselves as silly mad-scientist types that only happen to run a failing diner. What's going on here? There can be only one answer, logically: the film-makers here are actually parodying another genre film.

Perhaps "Psycho" can help us out here, after all. It must be remembered that a major influence on Hitchcock's's film was the motel sequence in Orson Welles' "Touch of Evil". That episode was itself influenced by the '50s "JD" (juvenile delinquent) films that frequently had middle-class suburban families found suddenly in the grip of a punk or a gang of young punks (the most famous being Brando's "The Wild One"). And the JD film was itself a clear off-shoot from the standard B-movie crime-thriller of the early '50s, which is simply a sub-genre of the "police procedural" (e.g., "Dragnet").

So, what "Undertaker" is really spoofing here is the police procedural.

So the indirect progenitor of the slasher film is - Jack Webb's "Dragnet". That's a little unsettling, but true.

At any rate, I'm not a big fan of slasher films, and I only watched this film a second time because it is, so clearly, an historical oddity. And it's real weird that directors like Welles and Webb (who have nothing else in common but this) should, in trying to explore the social significance of socio-pathic crime, point the way for audiences to enjoy such violence voyeuristically in the slasher film. That's cause for reflection.

Which makes "Undertaker", if only for history's sake, a very, very weird little film.

Not recommended for enjoyment, but a must-see for film-history buffs.

One of those movies that is more famous/infamous than it's good -- or even seen. TLP Swicegood's horror farce had such a gonzo title and ad campaign that the monster mags and genre books couldn't help but take note. It also got a longer than usual run at drive-ins and grindhouses helped no doubt by it's brief 63 minute run-time (which made it a perfect bottom of the bill flick for double and triple features).

Very much part of the first wave of true gore films in the 60s, it can't help but be compared to H. G. Lewis' movies of the era, particularly BLOOD FEAST. Like Lewis, Swicegood used humor to try and soften the grue in order to evade local censors. It was T. V. Mikels who gave the film its most fame when he bought it to accompany his CORPSE GRINDERS and THE EMBALMER as a triple feature - editing out some 15 to 20 minutes in the process. Like most of Lewis and Mikels' work, Swicegood's direction is so anemic that the bloody murders hardly make an impact outside of a chuckle or two (or revulsion to others). They certainly aren't suspenseful nor frightening.

The cast is made up largely of unknowns save for Robert Lowery in a bit part. Karen Ciral and Sally Frei had relatively brief careers as B movie starlets, while Ray Dannis as the title character had a slightly larger one, as did James Westmoreland. The actors give it their all (particularly Dannis), but the material is weak and the jokes are mostly sour and lame. A couple of gags land, but, it's mostly rough going. In this case, Mikels' slashing of footage is a gift to viewers.

It says a lot when the best part of the entire film is the closing credits, which further pull the rug out from audiences by winking at them. The sequence is actually genuinely amusing if far too little too late.

Nicely daft horror comedy with a nice dose of gore, straight from the middle of the sixties! Three motorcyclists seemingly select a victim at random, go to her house and stab her with knives before removing her legs. The victim's parents are then fleeced for cash by the local undertaker, but what connection does he have to the killings? And who are the two sinister guys at the local diner who have taken an interest in PI Harry Glass's assistant? It's up to Harry to get to the bottom of things, although in the end he doesn't do too much.

Full of gore (Hatchets through heads, a Fulci style chain whipping way before Don't Torture a Duckling, an acid bath)and bad humour (the 'meals' served at the diner, the Benny Hill style slapstick), plus buxom sixties babes, the Undertaker and His Pals is a prime slice of cheese served up with sly wink and is a treat for bad movie fans. The end credits say it all man.

"Did you ever think when a hearse drives by, that some day you are going to die?" This is the first sentence in the lyrics of the theme song for this film. Subtle, isn't it? Hell no, it's not, and subtlety is probably the very last thing you should expect to see in this grotesquely absurd and downright demented gore-comedy. He isn't mentioned anywhere in the credits, but the crazed sense of humor, the excessive display of (poor & cheesy) gore, the music and the overall amateurish low-budget production values make this feel like a genuine Herschell Gordon-Lewis movie! Undoubtedly he, The Godfather of Gore, influenced many young filmmakers at that time and "The Undertaker and his Pals" is a fine example to prove this statement. It's a tasteless and simultaneously delicious story about the pact between the undertaker and two restaurant owners residing in the same town. They ride out together at night to barbarically slaughter young girls, and while the undertaker makes big money arranging the funeral service, the victims (or at least parts of them) end up on the special menus board of his pals the restaurant owners. The film is as simplistic as it is ingenious, and it's the ideal excuse for an hour of brainless and blood-soaked entertainment. The character of the greedy undertaker is the funniest of them all and, as usual, the investigating cop is too ignorant to figure out the situation. The gags themselves aren't hilarious, but the poor execution is. If H.G. Lewis didn't make this film himself, I'm sure he will have enjoyed watching it. And so did I.