The Flesh Eaters

Surprisingly effective low-budget horror film about a creep (Martin Kosleck) on an isolated island trying to replicate Nazi experiments with flesh-eating organisms. A pilot transporting an alcoholic actress and her assistant is forced to make an emergency landing on the island and business picks up from there. A good B horror flick with some nice cinematography and special effects that were gory for the time. Despite its budgetary limitations it's pretty neat. Most of the movie takes place in one location, on a beach. Several moments of unintended hilarity, such as Byron Sanders' character talking about his ex ("I actually loved that little tramp.") or every scene involving Ray Tudor's beatnik (I'm comin', my people, I'm comin'!"). Sexy Barbara Wilkin has a nice scene taking off her shirt to help bandage Sander's wound. Tame by today's standards of course. Martin Kosleck is good fun as the mad scientist and the rest of the cast is enjoyable enough. Worth a look even if it isn't going to change your life.

Reviewers have not mentioned the gorgeous cinematography of THE FLESH EATERS, which is the work of the director, Jack Curtis, working under a pseudonym, Carson Davidson. Virtually every scene was shot outdoors in the merciless sun of summertime Long Island, but Curtis's lighting banishes unsightly shadows from the actors' faces; indeed, in many moments the exteriors are shimmering, almost silvery in their beauty. Deep focus and shallow focus are utilized with particular effectiveness. The women in the film are very good-looking, and as captured on film, they appear warm and absolutely delicious.

Another useful note is that THE FLESH EATERS was scripted by comic book writer Arnold Drake (The Doom Patrol, Marvel's Captain Marvel, et al). Arnold storyboarded the film, so every shot has the careful, formalized composition of a well-drawn comic strip. One shot, a sterling example of deep focus, sticks with me: the right profile of the hero dominates the left-side foreground of the frame. In a moment, two or three tiny figures at the far-removed shoreline move left to right, from behind the hero's head, and in perfect focus. Self-conscious? Yes. Striking? Absolutely.

Finally, Curtis & Co. shot THE FLESH EATERS silent, which is NOT apparent.The post-production looping matches flawlessly to the performances, and the voices have weight and presence. (Curtis had experience in the dubbing of foreign films for the American market.)

The gratuitous but not uninteresting Nazi-lab sequence was not shot by Curtis, and has none of the visual beauty of the rest of the film. Its shock value, though, is strong.

I rate THE FLESH EATERS AN "8" not against all films, but against other films of its type. As B exploitation, it is ingenious, nastily amusing, and immensely satisfying.

** STAY AWAY FROM THE SPOILERS! TURN BACK! ***

Not loving this movie is like kicking a smiling shaggy mutt. It's impossible to hate a low-budget black and white horror flick that delivers this many thrills and chills. File this one in the "trapped on an island with a monster" sub-genre amongst other non-greats such as THE KILLER SHREWS, TEENAGE ZOMBIES, and MATANGO, THE FUNGUS OF TERROR.

Lunk Armstrong, the All-American hero, (the character's name is Murdock, actually) is bribed into flying soused Broadway actress Laura Winters and her hot assistant Jan Letterman (add appropriate Dave Letterman related giggle here) to Provincetown for summer stock season.

He knew he would regret it! He just knew! But triple his normal rate is not for him to pass up. Sure enough, a bad storm forces their seaplane down to an "uninhabited island" for shelter. Only the place is not uninhabited at all! Aha! The plot thickens!

Pseudo-Nazi scientist (he's Hungarian actually) Peter Bartell is on the island doing what can only be described as very suspicious experiments. Before too long, dead fish wash up on the beach and ole Lunkhead gets some nasty bacteria on his leg (portrayed by burn marks on the film negatives), leading to one conclusion: the ocean is infested with lousy stinking killer microbes that strip the flesh off any living creature!! Lemme outta here!!

Soon enough stupid drunk Laura causes the seaplane to float away (or is something more sinister afoot?) and the stupid gang is all trapped. No radio either. So, we have the professor, the Skipper, the movie star, and the hot young girl. The only thing missing is a Gilligan. But wait! Soon enough an annoying beatnik on a raft with a wind-up Victrola (!) washes ashore, spouting more nonsense than a George Bush press conference. Thank Heaven he's the one who the evil scientist dispatches first.

It all gets only more confusing from there, but suffice to say that soon enough it's Mad Scientist versus everyone else, while the evil microbes fester in the ocean, and his laboratory experiments in a lead pan in the tent soon grow into a giant pulsating crab-brain monster that eats his pet parrot! For some reason he also runs electrical lines from a giant solar battery into the ocean, causing a giant version of the same creature to menace the entire island.

There's lots to talk about here and enjoy for monster movie fans, obviously. A lot of the cinematography is very distinctive and has a very Silver-Age-Comic-Book look about it. They did good work on a small budget. There are some monster effects which are quite good for a low budget film of that time.

But the thing that most people seem to find important or significant about the film is the pioneering use of gore effects, very seldom seen in a film from 1963. There's dead fish, human skeletons, stabbings, and lots of blood. This bad boy is supposedly coming out on DVD sometime in the hear future. I hope it does so; look out for it. It's a nice addition to any collection of drive-in movie horrors. If you don't dig monster movies, you won't like it at all.

UPDATE: It is currently available on DVD as of 2007.

This movie made a major impression on me when I was a kid and turned on the TV halfway though it on a Saturday afternoon. It was right in the middle of the scene where the archetypical cartoon beatnik character is babbling moronically about his diet...within seconds, I was watching a grown man scream like a little girl while being literally devoured from the inside out. That's all I remember from back then, that and how uncommonly UGLY those monsters turned out to be. I mean HIDEOUS (I'm still convinced that the brain-bug in "Starship Troopers" is just a watered down version of these things).

Later I watched it again, and again.

They start out really small, the monsters, so small that you can't see them except as a swarm. They are electrified somehow--electrified carnivorous blood cells, I think, the result of an evil Nazi experiment--and just sort of twinkle at first.

At the end, one gets really, really big. Once they're big enough to see, you realize just how UGLY these things are. These are old-school special effects, the kind that required some EFFORT, even when they were bad, and I miss that.

To add to this, you have a stranded island-load of the most ridiculous, archetypical, two-dimensional characters saying and doing the dumbest things imaginable. A mad Nazi scientist, a drunken has-been movie starlet, a once-successful pilot with a dark incident that ruined his life, and the aforementioned cartoon beatnik. It's like ten bad movies rolled into one. I'm not even convinced it's unintenionally funny. I imagine the people behind this debacle were made jaded and cynical by their hardships in Hollywood and amused themselves during the filming of this hack work by at least making it fun. My favorite part is when the square jawed pilot asks for something to bandage a wound with, and of course the attractive young women immediately rips her shirt off.

Bad special effects, bad writing, bad acting, and, I'm telling you, the ugliest monster I've ever seen. If this doesn't sound good to you, don't rent it, and stay away from my house.

This film is an updated for the 1960s version of the traditional late 30s-40s mad scientist tale but one with the surprising addition of gore, used very effectively for the time. Martin Kosleck here provides the mad scientist, a Nazi stereotype not uncommon to earlier eras. The Flesh Eaters themselves make for a memorable menace and the early scene with the two swimmers is an excellent bit of film making. The gigantic ones and their showdown with the hero at the end requires much suspension of disbelief but the monsters are also quite nasty-looking which makes for fun viewing if you're into seeing giant monsters. The final showdown actually reminds me a little of the film KRONOS.