The Ghastly Ones

Whether you love Andy Milligan's films or hate them everyone is in agreement; they are a genre unto themselves! You know you are in some paralell universe in the opening minutes of this film when a mad killer attacks a couple having a picnic on a private island. The maniac gouges out the eye of the man and then turns to the camera holding up a tennis ball sized object that is meant to be the eye! If you listen carefully during the murder scene you can even hear Andy Milligan's voice calling out "Cutting away, move!" to the actors! When I met Andy in the late 70's he confided to me that whenever an enucleated eye was needed he found Hostess Sno-Balls not only filled the bill nicely but also provided an impromptu snack for his performers. The plot involves the gathering of heirs on a lonely island to hear the will of the rich, eccentric father. Andy knew that plot had a long white beard well before 1969 so he loaded his movie was sado-masochism, marital rape, homosexual incest, a hooded killer that you'd have to be deaf and blind not to know was stalking you, and of course the bargain basement gore that made him so (in)famous to the people who gathered at drive-ins to watch his movies. THE GHASTLY ONES was his first gore film. After doing soft core movies like THE NAKED TEMPTRESS, GUTTER TRASH and FLESHPOT he saw the market movie away from soft to hardcore and decided to move into the terror genre. Actually this film offers some interesting things. Neal Flanagan, one of his stock company, plays a withered ancient lawyer who appears to have stepped out of a Charles Dickens novel. Haal Borske,a writer and director of several plays, plays the first of many idiot characters in Andy's films. His character of Colin appears to have been the killer in the opening scenes and he looks perfectly normal (apart from being a total sociopath, that is) yet later in the film he has becomes a hunchbacked, snaggletoothed halfwit who eats raw meat. Maggie Rogers also appears in SEEDS OF SIN and TORTURE DUNGEON and her acting is actually several notches above what is expected in a Milligan film. Gore is very . . .well . . .unusual. Bloody scenes include a pitchfork to the throat, a man cut in half with a bandsaw, a hand chopped off, a head in a roasting pan and wait'll you see what happens to the killer at the end! Andy remade this movie a few years later as LEGACY OF BLOOD with a different cast but the same plot and effects. To further confuse matters there is another movie called LEGACY OF BLOOD that stars John Carradine, Faith Domergue and Rex Reason that offers a similar plot but more sex and better effects. Don't worry it will be impossible for you to confuse these movies; an Andy Milligan film is like no other. Back in '69 THE GHASTLY ONES played on a double bill with Kent Bateman's HEADLESS EYES. If I had not been only 4 back then I sure would have paid to catch a programme like that!

Well well, at last a view of this underrated flick. But you can't find a good copy of it, terrible copy full with green drops, the editing isn't syncronized, the sound do has sometimes that terrible hiss and sometimes you even can hear the camera recording. Overall it's too dark, a waist of time you should say but it isn't. It's a bit slow, the first half part of the movie it's all talking and making love to each other. It is even still weird that the girls in movies from the 60's never wear any bra's. When they enter the sleeping room it's full glory. Anyway, banned in the UK since 84 and still on the video nasties list. The reason is simple, it's gory for their time being. It really has some nasty dismemberement's and it's creepy in some way due the fact that it is filmed handycam way. So every shot the image is moving, things they do these days with the steadycam. The Ghastly Ones could have been better if the quality of the film was better but still better then other films of the time like Schoolgirls In Chains.

Milligan period piece about murders for an inheritance. Shot in that tight Milligan style where people seem to hug each other so they remain in frame (due to his camera being beyond poor). This is a dreadful movie that has a certain amount of brain dead charm. Its a bad movie in the I can't believe they actually released this sort of way. Again as with most Milligan films, little more than a home movie (stuff I shot looked like this and I couldn't release it) this is the sort of thing only masochists and bad movie lovers dare watch. Certainly better than Seeds of Sin, the color and the period nature some how defuses the desire to put this on the unredeemable list. Come on how can one not enjoy-as with most Milligan period films- the desire to see the errors in continuity with objects from different eras mingling as if there was nothing wrong. There's a drinking game (and alcohol helps these films) in spot the error.

People who totally dig micro budget see-it-to-believe-how-bad-it-is schlock will probably enjoy Andy Milligan's "The Ghastly Ones". Supposedly a period piece, it brings together three couples in an old house for the reading of a will, where they will exist "in sexual harmony" for three days. Unfortunately, a brutal psycho has other ideas - first "marking" them by painting X's in blood, and then offing them. While technically quite a short movie (running approximately 72 minutes), it feels longer than it is, with a lot of talk. It may require some patience on the part of some viewers, therefore, in order to get to the good stuff, such as it is - with oh so tacky bargain basement gore (A Sno ball stands in for an eyeball!), a dose of (rather tame) sex, a priceless supporting character in the form of Hal Borske's half wit hunchback Colin (whose idea of fine cuisine is amusing, to say the least) and a not particularly compelling "Who is the killer?" mystery, which some people may well figure out early on. The characters are insipid and inspire appropriately insipid performances. (It's worth noting, though, that one actor in this bunch had a pretty good career for himself after this: co-star Richard Romanus's next film was Scorsese's "Mean Streets"!) That doesn't mean, however, that they aren't entertaining in their own way. Neil Flanagan, the star of Milligan's subsequent movie "Guru, the Mad Monk", is a riot as the aged, gnarly old lawyer. The movie itself is likewise inept enough to prove itself a real hoot. In fact, one can even hear Milligan calling out directions in the background; when a character is set afire, he can be heard saying, "Get down!" Milligan himself supplied the costumes, having ran his own clothing store named Raffine. Even while somewhat sluggish, this movie does deliver some good entertainment for bad movie buffs and some real laugh out loud moments. Five out of 10.

Three sisters travel to their late father's mansion where they are to spend three nights together with their respective husbands, before they are eligible to hear the will (read to them by a man wearing make-up to rival Ramses' from Blood Feast (1963)). Also there are the two housekeepers, Martha (Veronica Radburn) and Ruth (Maggie Rogers), and Martha's deformed and dim-witted son Colin (Hal Borske), who we see murder two people at the beginning of the film. After a night of pompous partying, one of the couples, Veronica (Eileen Hayes) and Bill (Don Williams), find a dead rabbit in their bed (which was previously seen being eaten alive by Colin) with a note attached reading 'blessed are the meek, for they shall inherit."

Directed by exploitation and horror hack Andy Milligan, The Ghastly Ones (titled Blood Rites in the UK and placed on the Video Nasty list) is a fine example as to why he is considered one of the worst directors of all time, commonly placed in the same category of Edward D. Wood, Jr. and Herschell Gordon Lewis. He began his career in small-time off- Broadway production during the 1950's, and his experience in that medium is evident here as, unlike most trashy horror films, the film is almost unbearably wordy, as the main characters have their mundane conversations between the brief moments of gore. Saying that, I would much rather be listening to conversation than watching overlong stalking scenes or disco dancing which was so prevalent as running-time-filler in Grindhouse movies.

However, the movie is a massive bore, and even with the slender running- time of 70 minutes, I checked how long there was remaining at least three or four times. The awful, clunky camera-work, added to the fact that the film stock was so poor I could barely make out faces, gave me a headache. When the moments of inevitable gore come, the film is given a little relief, as the scenes of pitch-fork impaling and disembowelment are so bad it does give the film a little charm. It would work quite nice as a double-bill with the aforementioned Blood Feast, as they are both short, amateurish, and most notably, s**t.

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