The Gruesome Twosome

The Gruesome Twosome are a little old lady called Mrs Pringle, who runs a wig shop, and her retarded son Rodney who murders and scalps pretty college girls. A student called Kathy investigates their disappearances. Directed by Herschell Gordon Lewis, the "Godfather of gore", Gruesome has four splatter scenes, very graphic but even at 72 minutes the film is heavily padded out. The beginning has a bizarre 4 minute conversation between two talking styrofoam heads, later added to stretch out the running time. We are also treated - if that's the corrected word - to drawn out scenes of groovy dancing, car racing, etc, again just to pad out time. Kathy's initial investigation is strictly comical, featuring that horror staple, a creepy janitor. Elizabeth Davis as the very eccentric Mrs Pringle is a lot of fun, she has a stuffed, scary looking big cat as a pet, called Napoleon. Hilarious! The acting at best is amateur but generally it is abysmal. This is a very cheap looking, crude movie, on purely technical merit I would score it only 2/10. However I do enjoy bad, strange and cult movies, this one leans towards the so bad it's good type. To date "Blood. Feast" is still my favourite HG Lewis movie.

"The Gruesome Twosome" has a simple plot. Old Mrs Pringle (Elizabeth Davies) lives in a lovely little house just outside a Miami University Campus and runs a high quality wig shop from within it. Her son, Rodney (Chris Martell), who's a little simple in the head, helps her out. His speciality is procuring the real human hair that goes into making these wonderful wigs. Unfortunately for the local students, this involves the brutal killing and scalping of every beautiful young girl who is lured into the house under the pretense of finding a room to rent. But hey, don't blame Rodney, it's not his fault - he's a child trapped in a man's body and his domineering Mother dearest (accompanied at all times by her stuffed bobcat, Napoleon) continually threatens him with the prospect of being sent to "the place where bad boys go" if he doesn't carry out her murderous desires.

Sounds from that like it could be one of a million naff exploitation movies churned out by the late 60's but this one has the distinction of being directed by the undisputed king of the genre, Herschell Gordon Lewis. As a result the film is loaded with the same kind of screwball, absurdist humour as found in his "She Devils On Wheels" opus (shot virtually back to back with this'un), mixed in with the trademarked ultraviolence of his earlier splatterfests. Hilariously, as revealed in the commentary on the recent DVD release of this, much of the humour was derived unintentionally from the fact that they shot far too little footage on the set and were forced to pad out the 75 minute running time with lingering scenes of very bizarre activity that was never in the original script. For example, the film opens with a camp 7 minute conversation between two wig blocks painted to look like garish pink Mr Potato Heads. We also have an outlandish, almost dadaist "film within a film" sequence at the Drive-In in which a young female tries to seduce a gluttonous Ray Sagar ("The Wizard Of Gore") who is more concerned with squashing peaches and stuffing his face with potato chips than he is with her wily charms. However, even discounting the unintentional comedy resulting from the timing mix-ups, Lewis still manages to cram in plenty of deliberate gags from his cast of kooky, colourful characters. We have a quirky heroine, Cathy Baker (played by the delicious model/actress Gretchen Welles), who is an overzealous and fairly inept Nancy Drew type attending the local university and is forever trying and failing to solve mini-mysteries, such as the whereabouts of her friend's pet parrot (she believes they ate it the previous day in a pot pie!). We have a creepy caretaker on campus who happens to be a bone smuggler (!) when he leaves work. We have extended scenes of pseudo-go-go dancing from the female students (including one where they all bop around waving legs of Kentucky Fried Chicken, as part of a product placement agreement Lewis scored with the fast food chain who, in turn, fed the entire cast and crew!). To cap it all off, we're even treated to a bikini beach party scene *AND* a stock car demolition derby! Anyone seeking prime 60's trash will be in Heaven here!

But it's not all fruitcake comedy. Gorefiends will delight in the extended sequences of scalpings, decapitations, disembowellings and eyeball gougings, shot in squishy, sickening close-up and rich with Lewis' beloved "red glop". It's strange that even over 30 years on from the Godfather Of Gore's heyday, no one has, in my mind, been able to out-gross him on the slippery viscera scale. The violence in "The Gruesome Twosome" is as stomach-wrenching today as it was in 1967.

Whilst not as seminal as "Blood Feast", as shocking as "2000 Maniacs" nor as trashy as "She Devils On Wheels", "The Gruesome Twosome" is nonetheless probably Lewis' weirdest finished product and, as a result, an essential part of his oeuvre. It's obvious from the DVD commentary that he still views the film with great affection and you should too. It's a gem.

Look if this was the first Herschell Gordon Lewis movie I'd ever seen it would probably be the last. Luckily I've seen his blood trilogy so I can't dismiss him entirely, but this is easily the weakest of his movies I've seen. The script (by the 'Blood Feast' writer) is trash, and while the movie only goes on for 70 minutes it really drags on and is full of unnecessary padding. Some of this padding is quite odd, such as the opening talking wigs sequence, and the gratuitous KFC eating go-go dancing bit (an early bit of product placement from Lewis), but mostly it's dull. I will admit that the handful of gore sequences are quite realistic for Lewis (that is certainly not always the case!), and Chris Martell makes an okay baddie in the Arch Hall Jr mold, but he doesn't get anywhere as much screen time Elizabeth Davis who is awful, unfunny and totally irritating. Acting in Lewis movies is very variable to say the least, but 'The Gruesome Twosome' has one of the most untalented casts I've ever seen. So, the verdict is only watch this if you are a Lewis obsessive, otherwise newcomers should avoid this one and go straight to 'Two Thousand Maniacs!' or 'Color Me Blood Red' which tie as his best two gore movies.

The Gruesome Twosome is another excuse for splatter pioneer H.G.Lewis to paint the screen red with gore, and this he does with several messy murders of hot young women, whose hair is destined to be turned into wigs by batty shop owner Mrs. Pringle (Elizabeth Davis).

In between the grisly but not very convincing killings (a scalping, a decapitation, and a disembowellment, all performed by Mrs. Pringle's mentally disabled son Rodney), Lewis treats the viewer to lots of inconsequential padding solely designed to take his film to feature length.

Amongst the craptabulous filler on display: a bizarre pre-credits sequence involving two talking styrofoam heads wearing wigs; snoopy student Kathy (Gretchen Wells) tailing the college janitor, who she believes to be responsible for several disappearances on campus; Kathy and her sorority pals gyrating to groovy music while eating KFC; a drive in movie that features crisp munching and fruit fondling; a beach party; and some stock car racing.

With its grainy picture, terrible sound, amateurish acting, cheap effects, bad editing and basic direction, The Gruesome Twosome is par for the course for a Lewis movie. If you're a fan of the man's work, you'll probably dig this as well. If you've no great love for HGL's unique style, this one is unlikely to change your mind.

4.5/10, rounded up to 5 for all the lovely young ladies.

Mrs. Pringle (Elizabeth Davis) owns a wig shop in a little town in Florida, but she is a demented woman who lives with her mentally disabled son, Rodney (Chris Martell), in a home where she rents rooms to young co-eds attending the local university.

"Gruesome Twosome" was developed in part because exhibitors were telling H. G. Lewis that his films did not have enough blood, leading him to make this gory film. This request is ironic in that "Blood Feast" (1963) was seen as too bloody just a few years before. He went from pioneering the gore movement to being seen as too light! This film corrected that.

Although I have been a fan of Lewis for many years, even publishing an article on his "Gore Gore Girls", I had not seen this film until Arrow Video put it out as part of their "Feast" collection. I can only imagine how rough previous copies are, because even with their painstaking efforts, the sound and picture are pretty rough. The physical film must have been rotting away, fading and getting holes.

Some have praised the film, but I find it to be one of his weaker entries. The introduction was made later to pad the picture, and it shows. But much of the film seems like padding. The dance scene, the long trailing by Kathy Baker (Gretchen Wells in her only role) of the college janitor... the film could easily have been better paced at under an hour.

Other filler includes some shots of Ray Sager ("Wizard of Gore") eating potato chips for no reason. Reflecting years later, Lewis admits he spent too much time on "the periphery" with things "not germane to the plot", but Lewis feels this had the unintended effect of giving audiences a recovery period between gore shots. He may be right, but it would have been nice if the time was filled with plot and not filler.

The strength comes in the gore. While the effects are in some ways pretty awful, such as the clear use of wigs for the victims being scalped, the actual blood and guts is very much ahead of its time and of course became Lewis' hallmark. Sure, a "dead" girl may be seen blinking her eyes, but at least the audiences were grossed out.

The Blu-ray from Arrow Video is pretty good. The picture and sound, as noted above, is far from perfect, but it is probably the best version released to date. The audio commentary is full of wonderful stories, including great asides about the "Blood Shed Theater" in Chicago. Some of the other features are unusual... an interview with filmmaker Peaches Christ seems out of place. A short piece on low budget films that came from Florida is really good, but not nearly long enough. A segment with an interview of Lewis on "censors" turns into more of a rant on his views of Facebook, which is a bit obscure.