Gas! -Or- It Became Necessary to Destroy the World in Order to Save It.

Impossible to say how Roger Corman's attempt at a loose kaleidoscopic comedy-satire in the Richard Lester vein would have turned out had not American International Pictures re-edited it against his wishes. He left the studio after 15 years with them after this.

The script is decidedly weak, a common Corman failing, full of potentially intriguing, half-formed ideas that are never realised. Meanwhile the cast of unknowns never get any real chance to build up their characters into anything sympathetic or likable. It's as if the director isn't really interested in them.

It's an adequately stylish, and zippy enough production. But like much of Corman's later stuff for AIP, it also has an air of opportunism about it, riding the post-Easy Rider youth-counterculture boom while having only an outsider's empathy with it (Corman was 44 when he made this).

Still, if nothing else he does get a chance to say an ironic farewell to Edgar Allan Poe (the author of Corman's earlier celebrated cult film series), who here appears in period dress riding a Harley Davidson with a stuffed raven on his shoulder!

The late 60s/early 70s saw a handful of genuinely odd pseudo counter-culture movies released by American studios, including cult classics like 'The Trip', 'Greetings', 'Psych-Out', 'Cult Of The Damned', 'Beyond The Valley Of The Dolls', and 'Zachariah'. Whether they were "genuine" of just plain exploitation is open to debate, and also a moot point all these years later. Fake or not they are a lot of fun now for 60s buffs. You can add Roger Corman's 'Gas-s-s-s' to that list. The movies premise is that a gas has been accidently released that kills everyone over the age of twenty-five. A hippie on the run from the police (Robert Corff) teams up with a scientist (Elaine Giftos), and the two go on a road trip to New Mexico, trying to find a rumoured hippie Utopia. Along the way they hook up with two couples - revolutionary Ben Vereen ('Roots') and his pregnant rock'n'roll fanatic girlfriend Cindy Williams ('Laverne And Shirley'), and their weirdo pals Bud Cort ('Harold And Maude') and Talia Shire ('Rocky'). The six companions come across many strange situations on their journey, including a militant dune buggy riding football team, Country Joe and The Fish on a golf course, and Edgar Allen Poe, Lenore and The Raven riding a motorbike. Yup, it's one of those kind of movies! Silly, self indulgent, with a lot of half baked (pun intended) jokes that aren't entirely successful. Even so quite a trip if you are in the right frame of mind. Nowhere near as good as Corman's 'Bloody Mama' (released in the same year), but it's probably his most overlooked movie, from a long, varied and consistently underrated career. One day he will receive the recognition he deserves, both as a producer/director, and for getting many important actors and film makers their first breaks.

Roger Corman's Gas-s-s-s, his final film as director for AIP, is dated (and probably even was for the period it got released), but somehow it's almost part of its charm. It's an irreverent comedy about a noxious gas that wipes out everybody- at least in the US much as we can figure- who's over the age of 25. Party-time! In what appears to be, in the premise, as a slight twist on Corman's own Last Woman on Earth, it's an epic of low-budget proportions, a rampant fiasco of kids in hippie-wear (or not as case turns out) and the Darwinian struggles that take place as the roughnecks, jocks and bikers-on-country-clubs face off against those darn 'commie-anarchists'. Certainly a good premise indeed, at least for those who love the exploitation fare of the period (myself counted, even as I'm from after that era).

While it might be one of Corman's (intentionally) funnier pictures, there's a nagging feeling that something's not totally there. It is cheap, it is slapdash, it's episodic. The problem, as with some of Corman's other movies, is that a little more effort would make something even more interesting. If there was, for example, another snappy and sharp writer alongside George Armitage, who could whip the script into a tight and awesome shape, it could even be one of the great exploitation films. As it stands, it's merely OK overall. Luckily the good tries to outweigh the bad, which is that there are some really, actually clever one-liners ("Hey, we all have our own inconsistencies, that doesn't stop the revolution," to "Drop that chloride, you commie anarchist!") and seeing the biker country-clubbers and the God lightning bolt climax.

Best of all is to see a running-gag in-joke for Corman- probably more than one, actually. The first is more obvious, and laugh-out-loud, which is a biker Edgar Allen Poe, who just shows up here and there like some sage wise-man (who is, of course, not over 25) with his wife and occasional raven on his shoulder spouting garbled quotes. The second is a little more subtle, which seems to be a play on his film the Trip, as in the psychedelic-type scenes (i.e. dancing to Country Joe and the Fish) with the camera zooming in and out fast, lots of hand-held, etc). Corman's gone through this all before, so it has to be questioned: how much of this is tongue in cheek, and how much is just almost shoddy film-making? Can't be sure. At least there was consistent chuckling to be had, especially at seeing a young Bud Cort in a cowboy hat, and, of all people, Talia Shire!

I think if you are into the sixties kind of thing, as I am, you are obligated to waste about 80 minutes of your life watching this barely watchable trainwreck. The saving graces of this oddity include a surprisingly apt social commentary on sixties values along with a number of relatively well known actors caught in early (and embarrassing) footage. It's as if the producers of Laugh-In sat down and decided to write a full length film, covering all the high points (and more) of the issues between the flower children and the establishment, then put it in the hands of a couple of hippies and gave them about a $10,000 budget to complete it. Hardly a classic, but in its own way it does capture how truly strange that time was, the silliness, the over-idealism, and the uptightness of the establishment. Clearly not for everyone.

This is the kind of movies that make me feel good. The kind of movies that makes you say: Man! Me and my friends could have made this one!

Anyway.. it's the greatest hippie-road-trip-movie I have ever laid my eyes on

peace