Satan's Sadists

Coming from a huge fan of the trashy, 1970s, low-budget, motorcycle gang, genre, my comment may be slightly biased. Being a fan of the wonderful Al Adamson might be too much as well. However, as far as sleazy 70s biker flics go, "Satan's Sadists" is indeed one of the better ones. Russ Tamblyn outdoes himself as the whacked out, sadistic leader of the group. His performance is truly fun to watch and he plays the villainous role to the max. The soundtrack is also tons of fun with some memorable "acid" tunes that should have you saying "Wow man!" every 20 minutes or so.

It's a pretty violent entry to the biker genre, but few of them are really "sugary-sweet". "Sadists" however, is maybe a bit above the rest with some real nastiness committed by the title group. For something a little less shocking, "Easy Rider" would be a better choice or even "Hell's Angels On Wheels".

Fans of schlock director Al Adamson have to see/own this one. It's a biker "classic" and deserves high ranking in biker film "Top Tens" right alongside "Northville Cemetery Massacre", "The Glory Stompers" and "The Savage Seven". Enjoy!

Satan's Sadist (1969)

** 1/2 (out of 4)

This biker flick pretty much put Independent International on the map and today it still holds up quite well. The story is pretty simple as a biker gang led by Anchor (Russ Tamblyn) take people hostage inside a restaurant. He kills three but two (Gary Kent, Jackie Taylor) get away and head out in the desert to hide. Naturally the biker gang must go after them and soon both sides realize that Anchor really is beyond crazy. Once you become familiar with the work of Adamson you'll begin to realize that he rarely turned out an "good" movie but this one here is perhaps the best I've seen at least from a technical point of view. The performances, direction and cinematography are actually pretty good here, which might make some people think this isn't an Adamson picture but he had quite a bit to work with here and the end result works. Tamblyn is extremely fun as the psycho biker as his laid-back approach makes for a good, cold villain. Kent makes for a good hero and Taylor is at least easy on the eyes. The supporting players feature some familiar faces including John "Bud" Carlos as an Indian biker, Adamson regular Regina Carrol play a sympathetic biker chic and Kent Taylor appears briefly as the restaurant owner. We even get Richard Dix playing a one-eyed biker. The film pretty much goes all out in terms of exploitation as we get some fairly violent death scenes, several mild rape scenes and of course you can't be a biker flick without a good number of fist fights. One of the highlights of the film happens when the bikers first appear inside the restaurant and the folks inside try to fight back at them. This leads to a pretty well-directed sequence once Anchor has three people on the outside and he plans on raping the cop's wife. The film starts to wear thin towards the end but this is something that happened with a lot of exploitation movies. Those wanting nudity will find plenty of it here as the women were clearly hired more for the size of their breasts than anything else. The most outlandish thing about SATAN'S SADIST is the fact that it has a soundtrack featuring six films by a group called The Nightriders. This group isn't going to make you forget The Rolling Stones but the songs actually fit the film rather nicely.

Satan's Sadists = a simple and straight exploitation flick with a cool 70s vibe and soundtrack. Only recommended if you like the genre and can dig some low budget trash production, and this I should add, some lengths story-wise too. For a better rating I miss some more action and gore, but we should not forget that the movie was released in 1969 and game changers like the original The Texas Chain Saw Massacre where still to come.

In order to get any enjoyment or entertainment, or just dumb-fun in a B-movie (if that) kind of way, like Satan's Sadists (not inappropriately released on DVD in some circles by Troma), is to take into context that it was, of course, the late 60's, and it remains in the sub-genre that is the biker-movie. I almost hesitate to slap the label 'exploitation flick' on it because one would have to take completely into mind what exploitation entails. Maybe there were many (maybe mostly) good-hearted bikers like the ones in Easy Rider that wanted nothing more than to get stoned and ride their wheels without too much trouble. But that is in a particular kind of movie that tries (and succeeds) to rise above the expectations of the enclave of biker movies. For the most part, as with Satan's Sadists and many others, a biker gang with a cool sounding name goes into a town, bothers the habitants to a point of total suspense and shock, and the filmmaker may or may not try to dig a little under the surface, go beyond the expectations up to a point.

One of the things that makes Satan's Sadists work, up to a point, is that producer/director Adamson usually doesn't mistake what it is that he's making. A film like this, when it played (where and if of course being part in question), would just be used as fodder for make-out sections and beer contests for those in the cars at the drive-ins, just good enough to not make anyone start chucking things at the screen. Adamson brings forth all the ideal elements- a gang of six (including the perennial grungy/sexy female) with attitude braced in their eyes and sunglasses, the older straight-laced couple, the good-looking younger couple, and plenty of room for tracking, driving shots of bikes. The gang here of the title run into a cop and his wife, a waitress, another young guy and the owner of a small pit stop in the middle of the California desert.

Basically, describing the plot would be moot; say enough that it is as much of a usual biker film as it is a revenge picture (and usually the two go one in the same with these movies). To Adamson's credit, given a group of non-professional actors (or B/C/D movie actors) that are hit or miss (the bikers are all alright, as are the cop and his wife, but some of the other parts of the younger women are pretty bad), he tends to push some of the boundaries of what can be done within the framework of the structure. We have an idea of what will go on, of course, after a crucial moment in the film, but there are little things, like when the bikes brake-down in the desert, or when other minor female characters are introduced all of a sudden in the desert, or the impromptu dance scene in the restaurant (though that is a staple in many of these flicks, a cool one at that). It's when Adamson sometimes kids himself with what he's doing that it steers away, like a little mini-speech given by the groups leader about 'the man' versus the 'love' generation before a certain murder takes place. And the music, while with a cool opening number, is draining aside from an interesting drum solo here and there.

I wouldn't say to start with Satan's Sadists if you're just starting to get into these kinds of films, as it is relatively hard to find and Adamson, while not without his cult fan-base, was unknown to me before seeing the film and really does nothing more than make your standard genre movie. However it's not to say that within the 'standards' there aren't some creative flourishes. I liked how there was always the one character clinging onto getting stoned and tripped whilst the others went on with their tough business, who even provides a couple of laughs. And where the film heads to is exciting on the most primitive, fast-food sort of level. There are certainly 'better' movies out there, probably with better acting and better use of music and locations. But at least in Adamson there is a little experimentation and touches of daring in his style; little insert close-ups and zooms/pans are interesting, and at times a certain zaniness tries to work its way into the steady shots. If a biker picture, in all of its likely exploitive tendencies and cardboard psychology, is more about attitude and using what is there within the limitations, Satan's Sadists is not bad, though not great.

There are several things this picture cannot overcome with its very low budget: the pacing is very slow at points, photography is almost amateurish in places (blown up from 16mm, I think), there's filler - too many shots of motorcycle riders moving on the freeway, and lousy dialog/acting. But, there's enough entertainment value for 3 stars from me. The credits song, 'I Was Born Mean...' is just super. Then you have star Tamblyn, the biker leader, overacting or subverting his persona, depending on how you look at it. He makes this weird speech a third of the way in (famous to people familiar with the flic) about how peaceful hippies are persecuted by cops; this is how he justifies his murderous actions (yes, I do this for the hippies, since they're too peaceful to do it). Scott Brady is a cop on vacation and the object of Tamblyn's antagonism. It doesn't explain why Tamblyn kills 3 young women later - what do they have to do with it? He giggles like a madman as even his own fellow biker (Cardos) rebels against such pointless murder.

Is Tamblyn just playing a joke on the audience? Here I am, he seems to be implying, once a nice boy in Hollywood movies. Look at me doing all this crazy stuff! I am one crazy dude. The 2nd half of the pic is all in the bleak desert, with the various surviving characters running about. There are no other police or establishment figures intruding; it's mentioned in the beginning how desolate the area is, that you can go 200 miles(!) without seeing another person. Greydon Clark is amusing as another biker who lives to get stoned on acid or LSD; his goal is to go on a one-way trip. And this was Regina Carrol's first big role, as a biker momma. Some of her dialog, as mentioned, is atrociously dated and poorly delivered besides; pining for Tamblyn, she asks another biker, "doesn't he know I dig him?" So what were they all rebelling against, these lowlife bikers? It's anyone's guess. Like in other such pictures, they just looked bored with everything and spewed moronic rationales out of their dirty little mouths - but the filmmakers put them there. Next was "Dracula vs.Frankenstein" - a reworked biker tale.