Violated

The story follows the police investigation of a serial killer with a hair fetish. Lt Mack (Mitchell Kowall) and Det. Dana (William Martel) enlist the help of a psychiatrist Dr Jason (Jason Niles) who we first see checking up with one of his patients, George (Fred Lambert), who has recently been released from jail. We also follow the story of photographer Jan (Wim Holland) and Susan Grant's (Vicki Carlson) attempts to make it as a model in New York. We are also introduced to the world of burlesque where Lili Damar (Lili Dawn) is queen of the scene. At the end, Dr Jason reveals the causes of what makes the killer tick, and the film finishes in a similar way to the beginning with an encounter between a man seemingly helping out a young woman who has dropped some papers.

The film starts in quite an arty way - the soundtrack is very effective - as we see the first murder being committed. The music is good throughout the film. However, the acting is wooden and some of the dialogue is suspect, eg Susan's over-use of sentences that start "Gee....". The film is grainy and in poor quality over a certain section but the film has a novelty value. At times it feels like a silent film with a gripping soundtrack and this effect helps, in my opinion, to give this film a cult/art-house status.

Violated (1953)

** 1/2 (out of 4)

Greenwich Village comes under attack by a psycho who is stalking women. Not only is he killing them but he's also scalping them. The lead investigator (Mitchell Kowall) teams up with a psychiatrist (Jason Niles) as they try to determine the killer who might just be a released sex offender.

For 1953, VIOLATED is pretty hot stuff from start to finish. This is basically an exploitation film that mixes horror and film noir elements and the end result is fairly entertaining even if there are many flaws with the picture. If you're familiar with the 1980 slasher MANIAC you'll know that the lead character there scalped his victims. That film was heavily influenced by the 1966 film AROUSED. Well, I think it's safe to say that MANIAC also borrowed from this picture.

The first thing you'll notice about this picture is that fact that it's working on a very small budget. I know noirs made a name for themselves by having small budgets but this here is a lot lower than you'd typically expect. What really sets the film apart isn't its story so much but the fact that it's willing to push the boundaries of good taste. After all, this here was seven years before PSYCHO and you've got a sex maniac, a psycho stalking women and a burlesque subplot where there are plenty of ladies not wearing too many clothes.

Those exploitation elements is what keeps the film alive and moving throughout its short 67-minute running time. The performances are very hit and miss and the majority of them would be called amateurish to say the least. The lack of any real acting talent makes for a documentary like feel and the music score by Tony Mottola really adds a lot of sleaze. VIOLATED is a film that should probably be better known than it is.

Violated could have been a standard psycho-on-the-loose thriller but for director Walter Strate's keen eye for detail. Background details really bring the Greenwich Village location to life and give you insight into the characters lives and motivations even when the performances don't. The violent scenes are shockingly effective without bloodshed and are a precursor to Michael Powell's Peeping Tom (1960) (he saw this, don't tell me he didn't). Violated perfectly illustrates the oppressive and persistent nature of the lustful men on the street all young women must contend with. It's a shame this was Strate's only film as it transcends its low budget and seedy milieu to make some solid points.

This is a wonderful period piece with the feel of Kubrick's "Killer's Kiss"; made around the same time. Though clumsy in places, it's still more professional and better than "Kiss", and perhaps as interesting a visual walk through fifties New York City.

A homicidal photographer hunts down and kills women who reject him, until he is caught by a sweaty, working class cop. An interestingly progressive view of a maniac, the killer is a kind man caught in a compulsion he cannot control. Many of the actors seem to be real people playing themselves; though this is for the most part more effectively done than in many more "respectable" films.

When the stripper snaps "You make my skin crawl, you jerk!" it chills to the bone. New Yorkers may find many locations still recognizable, and you gotta love the big poodle. According to IMDB, no one here was ever involved in another

film but the producer, who went on to bring us the films of the notorious Andy Milligan. Too bad, much talent is on hand. Find a copy!

When young women start turning up dead, a couple of cops begin to hunt for the sexual predator who is killing them.

It's an exploitation film, intended to show prostitutes and maniacs, with a thin veneer of respectability added by a couple of brief talks on how psychiatric care should be better. The acting was downright poor, with the usual dull-voiced lecture by the psychiatrist, and poor line readings by everyone but the strip-club owner. That was played by William Mishkin, who spent the next quarter century producing and distributing such fare as THE RATS ARE COMING! THE WEREWOLVES ARE HERE! and GUTTER TRASH. Surprisingly to me, I found Pat Rich's cinematography to be pretty good, although some of his work seems like an attempt to liven up a poor piece of exploitation.

THis might have been racy in 1953, but it's nothing these days.