The Headless Eyes

Long ago(the mid eighties, before it became chic to diss bad movies and glorify their ineptitude), I caught this freaky flick the way nature intended, on a late-night horror show on an independent TV station. Even then, before the advent of our culture of irony, I knew I'd seen something so unrelentingly bad that it was remarkable. This movie concerns an artist who, while attempting to rob a sleeping woman to get rent money, has one eye put out by his victim. Driven insane, he goes about the unnamed city where he lives(New York), encountering various people, killing them, then attaching their eyeballs to mobiles and suspending them in blocks of acrylic. The victims include a boozy, bickering middle aged couple, a prostitute, and a middle-aged receptionist in an office building. The film has very little in the way of a narrative structure; our mad artist basically drifts around in a stupor, encountering people and killing them. This may be part of the director's masterplan; this mess apparently was some attempt to make a statement about the isolation of urban living. Viewers are treated to a bizarre dream sequence in which the artist staggers deliriously down canyon-like city streets barefoot and ragged, stopping to bang his fists against what appear to be the tall wooden doors of a church. Holy Fellini on Ripple! There's also a documentary-like sequence in which the landlady of one of the killer's victims is interviewed by a reporter and spouts bland, insincere compliments about a young woman she probably never spoke to("She was a nice girl, never any trouble," etc.)The entire film has a hollow, detached feel to it, something that can't entirely be blamed on the filmmakers' incompetence. Or maybe I'm just an optimist. Make no mistake, it is bad--crummy sound and cinematography, stilted dialogue(when available), superflous characters(the artist's wealthy former girlfriend, a young art student who wants to take lessons)who must have been inserted to give friends of the director parts, and artsy sequences that were intended to show the filmmaker's vision but only showcase his lack of ability. And this flick was on video at one point, but is undoubtably out of print now. If you have any independently owned video shops in your area and don't mind slumming(you know, the kind that have a back stock of wretchedly bad old videos), look for this one. Rent it, get some of your hipper-than-thou friends together, and inact your own episode of Mystery Science Theatre!

There's a lot to be said about this grisly extreme low budget thing, much of it not too good so far, however it is a precursor to the Henenlotter style, not a copy of such, as was implied by another commenter. It's not hard to imagine that Henenlotter, Abel Ferrara and maybe even Scorcese caught this at a midnight screening or something when they were younger. If viewed being mindful of its year of production (released 1973 but production started around 1970-71), it comes on the heels of the angst-ridden French New Wave and borrows much from that style. Every independent film "artist" was familiar with the French New Wave, especially New Yorked based ones

There are actually moments that are quite unnerving watching this eye-stealing serial killer move in and out of a psychosis and stalk his prey. Not as nicely done as Michael Lerner's eye-obsessed maniac in ANGUISH, but still effective. It's hinted that he may have two personalities, but it really seems more like schizophrenia. (No, they are not the same thing!) The gore effects are poor to adequate for the time and budget, they would be considered lame by modern standards. As typical for horror films of this period, it's reflective of the bloodshed and violence of Vietnam that was consistently broadcast over television, and of the dread regarding the effects of the war on returning veterans. This is a common theme, that has become more visible as time passes, in horror and other films of violence of the time

While the main character, the killer, has nothing to do with the war, the mental anguish and violence are sure themes of this period. You won't like this much if you must have super-realistic gore effects and hyper-intense action with cardboard characters, but for those horror fans who lived through this period and those who are interested in studying the horror films of the time, this one is worth the few dollars you can buy it for on VHS on Amazon, less than what it costs on ebay, where it's available on bootleg DVDs. With a wonderfully eerie soundtrack as well and a nicely done understated ending. Nice to view on a double-feature with THE SEVERED ARM.

My review was written in March 1983 after a Greenwich Village screening.

"The Headless Eyes" is a 1971 gore thriller so obscure that no credits or details about it are listed in comprehensive horror encyclopedias. It is reviewed here, finally, for the record.

Set in New York, picture opens with lead Bo Brundin robbing a woman in her apartment to raise his rent money (he's a struggling artist). Defending herself with a teaspoon, the victim pokes his eye out, setting of Brundin's grisly mania of killing women and gouging out their eyes with a spoon of his own.

Generically related to the familiar mad sculptor/wax museum films, story has Brundin creating plastic artwork incorporating the eyes. Plentiful blood and adequately simulated gore account for the picture's X rating, awarded by the MPA A in 1973.

Technical quality is extremely poor, with a grainy blowup from 16mm lensing.

Director Kent Bateman did an about-face by helming the G-rated "Land of No Return" starring Mel Torme. "Eyes" is interesting for the earnest overacting of Brundin, who later moved up to a leading role opposite Robert Redford in "The Great Waldo Pepper".

A thieving artist has his eye gouged out by a spoon when trying to rob a woman's apartment. This nutter then goes round New York killing women whose eyeballs he removes, which he uses to create a new bit of artwork back in his studio.

The Headless Eyes is pretty much an example of grind-house exploitation fodder. It's a very rough and ready flick with minimal production values. But then I guess you would expect that for a grade Z movie. However, it does at least make some attempt at being dare I say it, artistic. There are occasional interesting shots, while the music fits with the feel quite well. It has a pretty scuzzy atmosphere overall and is another that utilises the very mean streets of 70's New York to decent effect. It's a clear precursor to Abel Ferrara's very similar movie The Driller Killer which came out a few years later. Unlike that one, The Headless Eyes never did make the video nasty list, which in some ways is surprising seeing as it was available in a striking video cover on home video in early 80's Britain and it also has considerably more mean spirited violence than many films that made up that list. That said it's not exactly impressive. Quite a lot of the time it's pretty terrible in fact, especially that opening looped use of the line 'My eye! My eye!' But the griminess and rough approach do sort of work in its favour some of the time, giving it a sleazy feel that's in keeping with its overall concept.

Call my crazy if you wish but I LOVE HEADLESS EYES!!! Sure it is poorly edited and not technically sound, but the film is pretty good. I love the sound track. I thought the killer was interesting and did a good job with the part he was playing. The movie has some very surrealistic moments and it is never boring. I liked the understated cheap-o ending as well. There is also a couple of decent gore sequences which become creepy thanks to the performance of Bo Brundin who is very convincing as a psychopath. I loved the way he talks to the eyes that he ripped out of his victim's head! Lighten up folks, this is a great little creepy horror movie from the early 70's. The director also happens to be one of the better known porno film makers in the industry.