TCM features its must-see Underground cult films in new book

 

Review by Doug Gibson

Roughly 40 years ago film critic Danny Peary began his Cult Films trilogy book series. It was groundbreaking for its detailed analysis of films that capture our imagination far beyond the first time we viewed them. We have to see them multiple times. Whether arguable great works of cinema, such as "Night of the Hunter," or a malformed puppy, like "Blood Feast," they were so damn unique. Derivative was not in their vocabulary. You could not replicate a film such as "Plan 9 From Outer Space," or "Pink Flamingos." It was the work of inspired minds, even if a bit, or a lot, unhinged.

I read Peary's three books to tatters, of course. I still have copies. But the books began to fade in impact, something that was written a long while ago. And, then in 2006, TCM started its TCM Underground series and suddenly these fantastic cult films that Peary had written about, and many more, began airing in "the wee small hours of the morning." Directors such as Russ Meyer, Herschell Gordon Lewis, Ed Wood, Ray Dennis Steckler, William Beaudine (post 1960), Timothy Carey, William Castle, Jamaa Fanaka, Penelope Spheeris, Paul Bartel, and others joined the list of respectables that dot TCM's schedule.

It's been 17 years of TCM Underground and I never miss it. If for some reason I cannot be up at those hours, I DVR. And yes, I watch re-runs; after all, they're cult films. Without TCM Underground, I don't think I'd have ever discovered diamonds like "Hausa," or "Emma Mae." For a list of all films aired, including shorts, go here. 

So, when I learned of the October release of "TCM Underground: 50 Must-See Films From the World of Classic Cult and Late-Night Cinema" (Running Press/Turner Classic Movies Philadelphia, 2022), I had to get it. I was hoping for a contemporary update of cult cinema; one that complements Peary's earlier work. 

Readers will not be disappointed. "... 50 Must-See Films" is a gem. The reviews are expertly recapped and analyzed by writers Millie De Chirico (TCM Underground's chief programmer) and critic Quatoyiah Murry. I will briefly recap three reviews. The strength of the analysis includes the authors noting where these cult gems challenged conventional mores of their era, and take positions and assumptions that are accepted more today. Cult films, crudely made or not, can do this. As author/comedian Patton Oswalt says in the book's Foreward: "Moment and feeling always conquer plot and logic, especially out beyond the edge."

The authors have placed the films in various genre categories. Dig just a few of the titles: "I Saw What You Did," "The Honeymoon Killers," "Shack Out on 101." Or "Polyester," "Sometimes Aunt Martha Does Dreadful Things," "Fleshpot on 42nd Street." How about "Blacula," "Haxan" (this film is a big personal favorite), or "Lets Scare Jessica to Death."  And there's "Little Darlings" (I'd forgotten about this film), "Two Lane Blacktop," and the aforementioned "Emma Mae." And besides "Hausa," there is "Belladona of Sadness," "Beyond the Valley of the Dolls," "Mac and Me," and "Funeral Parade of Roses" (which will blow your mind away). 

One thing I like about "... 50 Must-See Films ..." is its daring. It's willing to include films that were almost universally derided. The author's sense films that are just starting to develop a cult. Peary, for example, foresaw that the box office flop "Willy Wonka and the Chocolate Factory" would gain a big following. De Chirico and Murry are putting out the word that '80s box-office failures "Mac and Me," and "The Garbage Pails Kids Movie," have grabbed cults and are worthy of note and further interest.

And, indeed, when you look at the ultra-slick, somehow derivative high-production quality animation and fantasy today, you appreciate the uniqueness of the outcasts of the "... Garbage Pail Kids ...," sent to the State Home for the Ugly, or the awkward, crass, in-your-face commercialism of "Mac and Me." It's endearing to see another one-time failure, "Xanadu," bloom today from new viewers who simple marvel at its ability to capture a dozen artistic genres in one feature.

Here are recaps of three films in the book that represent cult genres that -- to my observations -- were not noted as cult material 40 years ago, during the era of Peary. 

The first is "Emma Mae" (1976). Lumped incorrectly as "blacksploitation," (it was given a cheesy other title, "Black Sister's Revenge," in hopes of boosting sales) the film details a young, naive southern girl/woman (Jerri Hayes) moving to live with relatives in Compton. It's a whole new life and culture. She's awkward, not conventionally pretty, and sometimes mocked by family and others. But Emma Mae has a mixture of sweetness and ferocity that slowly earns her respect and friendship. Naively, she falls in love with a man who disrespects her badly, even after she's risked her life and freedom for him. The authors correctly note that this is a hybrid film. "It's part fish-out-of-water story, part coming of age, part family drama, and part revolutionary tale of Black female empowerment."

Another film is the Andy Milligan-directed "Fleshpot on 42nd Street." I was very pleased that TCM Underground finally recognized Milligan's work. His films, ranging in budgets of $10,000 to $40,000, often were "horror" flicks. But Milligan's real skill was digging deep into the domestic lives of his characters, and creating dysfunctions that often led to violence and death. "Fleshpot" is not a horror film. It captures the grimy, dangerous lives of sex workers around 42nd Street in New York City in the 1970s. The main character is Dusty (Laura Cannon) a semi-grifter who steals and leaves her current boyfriend, grifts a horny antique dealer, and moves in with transgender sex worker friend Cherry Lane (Neil Flanagan). (Flanagan, by the way, would note an Oscar nomination if conventional Hollywood cared a whit about grindhouse cinema.)

A small time is spent with these characters, who are survivors enduring life, and we are voyeurs, witnessing their world in grubby sex settings, the streets of 42nd Street, and a lower-tier bar with an eclectic mass of characters, including two sisters who need to be seen to be appreciated. Things might began to look up for Dusty. She meets an interesting man. But you get the feeling there are far more lows than highs in this world. Even Dusty and Cherry -- who need each other -- began to quarrel. 

This is a powerful film. The authors note: "Viewing this edgy classic will likely be a jarring experience for most filmgoers today, even the staunchest cult movie fan. This film was made for a particular and very small subsection of the public, not the masses. This is its charm and its strength. Its an examination of a concealed world operating in the fringes outside mainstream society, and from the artistic bird's-eye view alone, it's a captivating watch."

Many of Milligan's films are lost. Thank heavens "Fleshpot" is one that survived.

The authors also include "Wild Seed," 1965, a film about a teenager 17, Daffy, who runs away from home. After being sexually attacked, she runs into a protector named Fargo, a somewhat harsh 20-something man who is a migrant worker and drifter. He takes her on a nomadic train-hopping cross-country journey to Los Angeles, with all the dangers this type of life offers.

Daffy (Celia Milius) wants to confront her father. She begins to have feelings for Fargo, but he's been battered by life into a type of protective cynicism. But through conflict, they yearn for each other. The authors write: "Wild Seed" is a sensitive, thoughtful film, big on mood and atmosphere and with tons of talent behind it .... (Daphne's) foray into the train-jumping life feels like a glimpse into a secret society ..."

Fans of diverse genres of film will love this book. Readers will make it a constant occasional read, skipping through and back to pages to different films they enjoy at that particular time, and wish to revisit. I hope that, given the amount of films already shown on TCM Underground, there will be several further editions of "50 Must-See Films." 

Noonan's Sci-Fi Fun Club a great place for cult genre fans; a chat with its founder

 

Today, Plan9Crunch blogs is thrilled with the opportunity to interview Clark West, who runs the Noonan’s Sci-Fi Club Facebook page. Recently nominated for a Rondo Award, Noonan’s is just a fascinating, cerebral journey into all things fantasy and horror … and more. I’m addicted to it and love to share observations, clips, art, blog posts and more. Ed Wood, vintage horror, grindhouse, TV sci-fi, Godzilla and pals including Hedorah, I’m a frequent poster to Noonan’s. It’s just a great, valuable genre site, and we now talk with its founder, who lives in Osaka, Japan.

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Plan9Crunch: Welcome Clark! You have this very interesting Facebook page that tackles some cult genres, and has a steady stream of followers and conversation. Tell us about your past, and how you developed an interest in these genres?

West: I got an early start. Really early! My older sisters and dad were Trekkies, so I cannot even remember the first time I saw STAR TREK, but I am fairly certain my first glimpse of the Gorn required a diaper change. My earliest memory of ANY movie was James Whale’s 1931 FRANKENSTEIN. I learned how to tell time because my sister Joy came home from school one day exclaiming how there was going to be a really awesome movie called KING KONG on at 8pm that night. I sat and watched the clock on the kitchen wall for what seemed hours, and very well could have been, waiting for the fat hand to reach eight and the long hand twelve! Shortly after that, my sister introduced me to Godzilla via the infamous NBC 60 minute broadcast of GODZILLA VS MEGALON, hosted by John Belushi in a Godzilla suit! That hooked me on not just Kaiju but ALL things Japanese. Anime, Kurosawa, Hello Kitty… you name it. Almost a half century later, here I am in Osaka, lamenting that I cannot, for at least now, watch THE TWILIGHT ZONE or DOCTOR WHO, the latter of which I was hooked on since I was a 5 year old, and I’ve been a TZ fanatic since I was seven, so why not devote my spare time to creating a Facebook Group celebrating all this stuff! I was born in Oklahoma but ran away as fast as I could.”

Plan9Crunch: What made you decide to take the social media plunge and create a Facebook page. How did your ideas for it develop?

West: All the peeps I refer to as the “Founding Noonans”, and I, belonged to a really fun Facebook Group more than half a decade ago called “The Science Fiction Multiverse.” (It was) really fun, except for the person who ran the group. One day the group’s “Overlord,” as he liked to call himself, had a meltdown and closed shop on our dear old “SFM.” So a few days later, Noonan’s Sci-Fi Fun Club was born. I didn’t do it all alone though. A super fan named Perry Williams, our senior admin, as it were, was a huge help, even rewriting the Group Intro into something more presentable. And Andrew Gaska, now an award-winning professional writer of roleplay games and various things, talked me out of calling the place “Richard’s Sci-Fi Fun Club”, telling me “You can’t have a more Sci-Fi name than Noonan!” I am forever in their debt! And I owe a debt to my late friend Richard Noonan, in whose memory the page was named.

Plan9Crunch: What drives you to think about new ideas, and how do you keep the enthusiasm to maintain an atmosphere where new ideas can be discussed?

West: Perry Williams clearly states in our Group Intro, “And Everything Else Geeks and Nerds Love.” So I take that as cart-blanche. Just about anything goes! From Silent Movies to Baby Sloths!  I often post about interesting things in Japan, and our Welsh Administrator often shares facts about his country. I really want Noonan’s Sci-Fi Fun Club to appeal to the Renaissance Nerd, the Anorak who is all over the place, the Otaku who does not where to curb their enthusiasm. Basically, people like me!

Plan9Crunch: You place an emphasis on hashtags. I try to make hashtags. I think it's an intriguing idea within the page. How do the hashtags increase the impact of the page?

West: The Hashtag idea was introduced to me by a former admin, David Cho, and I am forever in his debt! I was slow to pick up on the idea myself, but then I realized, it was genius! Especially if you come from a Message Board Background, the hashtags enable you to actually organize your Facebook Group’s content, making it easier to browse, and in my thinking, more conducive to the sort of fan scholarship I try to encourage in the group. The average Facebook Groups I am sad to say are ephemeral wastelands. Hashtags lend your post some immortality. It is a hard sell though. None of the Admins and Mods in Group understand the benefit. Except for our hashtag hero, Alex Pass! A new member Marcie Carpenter has also been a big help of late. I think the hashtags are FINALLY starting to catch on!

Plan9Crunch: Your Facebook page was nominated for a Rondo. That must have been gratifying. Who do you credit besides yourself for the nomination?

West: Just being nominated for a Rondo, that will always be worn by the group as a badge of honor! David Colton’s Classic Horror Film Board is what I am striving for with Noonan’s Sci-Fi Fun Club! That level of fun, yet serious, scholarly analysis, and discussion of the things we love. Who do I credit for the nomination? All the fantastic members of course! They are the ones who helped us come close to that goal this year!

Plan9Crunch: What new ideas are in the planning stage?

West: My wife is very insistent I make something called “money”, so now that I appear to have a recognizable brand name, even if to a limited crowd … expect Noonan’s Sci-Fi Fun Club, the Pod Cast, to come soon. I have also have been trying off and on to encourage members to create local, physical chapters of the Club. All of that was before Covid-19 hit. As the world recovers, or at least gets used to the new conditions, I plan to continue that push. We have an Osaka Chapter, with a Meet Up page and everything, but with only three members!.

Plan9Crunch: I think it's a great idea to have page followers vote occasionally. Although Noonan's Sci-Fi Fun Club encompasses many genres, what is your favorite cult genre?

West: I try to make everyone feel they have a voice! They too are playing a major part in the Group. So I usually put the bigger decisions up to a poll. I want everyone to feel included! I am not sure I can reveal my favorite cult genre though! Noonan’s Sci-FI Fun Club covers so many things precisely because I love so many things with a deep passion! I love the movies of Studio Ghibli founders Hayao Miyazaki and Issao Takahata. I consider Miyazaki the greatest living director of our times. I also have a huge soft spot for pre-code Hollywood, especially the Horror Movies and Comedies. I deeply love DOCTOR WHO, at least from the Hartnell era up to the end of David Tennant. I can’t wait to see what the returning Russell T Davis has in store for us next year. It really depends on my mood. I deeply love so many different things!

Plan9Crunch: Expound on the reason for the name of the page Noonan's Sci-Fi Fun Club?

West: Richard Noonan was a sweet, elderly man in the previously mentioned Science Fiction Multiverse. He got banned for posting too many “Off Topic” posts, and I led the charge to convince “The Overlord” to re-instate him as a member. He would send me video Christmas Cards of him singing “Amazing Grace” every year. With no near family, he spent his final few days after the heart attack in a hospice. I was text messaging with the kindly lady who sat vigil over him at the moment he died. I want Noonan’s Sci-Fi Fun club to be a tribute to him. (It’s) a place full of compassion, love, and understanding.

Plan9Crunch: It might be interesting to know the advantages and challenges, of following these cult genres living in Japan.

West: Since I am a pre-code Hollywood kind of guy, it hasn’t been too much of a problem. I trust the members to bring me news from the outside world! Here in Japan, we get the Marvel Movies the same date as their American releases, and Netflix and Amazon Prime have me fixed for TREK. I do miss DOCTOR WHO though. The show had a huge following amongst Japanese women for a while, the idea of a handsome foreigner taking you away on a life of travel appeals greatly to them. Sad to say the current Doctor, Jodie Whittaker, destroyed that fantasy. But Japan and the US are the same Blu-Ray region, so I just need to make money and buy American Blu-Rays of DOCTOR WHO and the Classic Horrors and Comedies I miss so! I have many pots on the fire. I’m doing various English lessons, working on starting my own English school, and of course, I want to launch Noonan’s Sci-Fi Fun Club: The Pod Cast! Perhaps then, I can interview you? Thank you so much for this opportunity!

Thank you very much. This was a fascinating interview. You have a unique, creative mind.

Andy Milligan's 'Blood' is grindhouse auteur's monsterama

 

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Review by Doug Gibson

Stephen King, in his book Danse Macabre, trashed grindhouse filmmaker Andy Milligan. Writing of his film, "The Ghastly Ones," King said something about it being the result of morons with cameras. 

King's comments lend credence to the maxim that even one of our greatest writers can be a total ass when pontificating on other subjects. Crude "The Ghastly Ones" may be, but Milligan cobbled it together on a budget of roughly $10,000, perhaps a little bit more. He also created something unique, with his signature stamp of family dysfunction leading to chaotic, deadly horror.

Ironically, Stephen King later directed a film, "Maximum Overdrive." King later accurately labeled it "a moron movie." It cost $9 million and was a derivative mess. (I wasted $5 or so watching it in a theater). Since it grossed $7.5 million, King's film ended up losing -- on a conservative guess -- about $10 million.

"The Ghastly Ones" made likely a tidy fortune for Milligan's tight-fisted producer, William Mishkin. It played drive ins and grindhouses for years. It's probable Milligan saw none of those profits. I've read rumors that Mishkin gave Milligan about $20,000 to make a film, and Milligan only spent half so he would see a healthy paycheck for himself.

With this preamble over, this post is a review of the 1974 Andy Milligan film, "Blood." For a long time it was hard to find, and then a murky, ragged 57-minute or so print was located. You can see it on YouTube. Tubi has a ragged 69-minute version. There's a complete, roughly 73-minute Blu-Ray version of the film on Severin's Andy Milligan "Dungeon" box set. 

Milligan was ending his association with Mishkin around the time of "Blood." It was funded by backers of "The Texas Chainsaw Massacre" and even "Deep Throat!" The budget is significantly bigger than for a film like "The Ghastly Ones." I'd say, maybe $30,000 was provided. Even so, "Blood" was not a high-priority project. It was meant to be a co-feature to a film called "Legacy of Satan," -- also on Tubi -- helmed by "Deep Throat" director Gerard Damiano.

Like most Milligan films, "Blood" improves upon repeat viewings. It's a Universal Studios-style monsterama, with "Day of the Triffids" thrown in. There's this wildly imaginative plot, with an added spice of deep family dysfunctions and secrets, with rage directed at sleazy lawyers, nosy real estate agents, and the requisite old crone, who haunts a creepy cemetery. 

Imagine if Andy Milligan had directed Universal's "House of Dracula." It might have resembled this: Lawrence Orlovsky (Allan Berendt) rents a house in 19th century (Staten Island?). He lives with his wife, Regina (Hope Stansbury). Weird experiments are going on in the house. Also residing are research associates, Carrie, her husband Orlando, and Carlotta. Orlovsky is overseeing a host of dangerous plants, who have already mutilated the servants. Orlando is legless; Carrie has a rapidly deteriorating infection on her leg, and Carlotta has become a disabled, moronic hulk due to blood being taken from her to supply the plants. The house furniture and fixtures resemble the 1970s but that is pure Milligan.

The plants are designed to keep Regina healthy. As it turns out, she's a vampire, and needs the sustenance. One of the few terrifying moments is where we discover what Regina looks like prior to a plant infusion. After the plant treatment, she has a dark, pale beauty, but she's obviously mad as a hatter. Also, we learn that Lawrence is really the son of the Wolf Man, Lawrence Talbot. This is likely the only film in which the daughter of Dracula is married to the son of the Wolf Man. And yes, the son also suffers from dad's curse.

It's apparent very soon that there's no love between these two. He stoically endures her. She pleads for affection, but is obviously too insane to provide affection. Hope Stansbury, involved in several Milligan productions, is at her best in "Blood." She is a whiny, bitchy, angry, jealous killer, unable to feel any emotion that fails to feed her need for blood. Berendt, who only made one film, is good as the harried Wolf Man, who eventually allows his romantic eye to wander to the comely secretary of his crooked lawyer. The actor sort of resembles "Puddy" in the series "Seinfeld."

Typical Milliganisms include Carrie's long-lost brother, a globe-trotting sailor, surprising her with a visit. Their joyful greeting soon includes passionate kissing and caresses, insinuations of past incest. He's very concerned with Carrie's limp and wounded leg. Before he can leave, Regina, unbeknownst to Carrie, coaxes him downstairs on an errand, and kills him. Regina also kills the nosy real estate agent, the hag at the cemetery, and even a quivering defenseless mouse (I hope that scene was not real.) Her lycanthropic husband is also after the corrupt lawyer, who cheated him of much of his estate. His vampire wife, for her part, is lusting for revenge on the comely secretary of the lawyer, who has turned hubby's Wolf Man heart. And the plants are getting bigger, bolder and more deadly.

It's all very much in the Milligan style, with cramped settings, lots of arguments, and long talky scenes punctuated with bursts of horror and violence. There's a short but pretty good end-scene battle royale, and a witty final "bookend" scene.

If your a Milligan fan you'll enjoy "Blood" more each time you view it. If this is your introduction to Milligan, you may be pleasantly surprised, but I'd recommend watching a few of his earlier films to better get more flavor of this "gutter" auteur.

John Carradine makes Cain's Cutthroats a western worth a look

 

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Review by Doug Gibson

"Caine's Cutthroats" is a 1970 revenge western that was originally titled "Caine's Way" (more on that later). It's a very low-budget western with ambitous pretensions. It wants to be deep, and explore how unwarranted suffering and grief can be contaminated into a never-ending desire to torture and kill; and how the desire for revenge can return a good man to his once-evil self. If the producers had just kept a simple plot simple, you might see "Caine's Cutthroats" on western cable channels today instead of the same tired fuzzy print that has made the rounds through a VHS release, various appearances on out-of-print multi-western DVD collections, and current appearances on Tubi, YouTube and Daily Motion.

The plot: "Caine's Cutthroats" are former Confederate soldiers who committed crimes against Union forces. It's long after the Civil War, and they are out of prison. They have resumed criminal activities, stealing a Union military payroll and slaughtering several soldiers. They visit the home of their past gang leader, Justice Cain (Scott Brady), who has renounced his past and lives with his son and new wife, an African-American woman who once served as a slave maid in his household. Cain rebuffs his returning crew and they turn on him, raping his wife and killing her and Cain's young son. They shoot Cain, torch his property and leave him for dead.

There's one main reason to see this film (and another smaller one). The main reason is the introduction of the character, Preacher Simms, played by the great John Carradine. The self-described preacher discovers Cain, nurses him back to health and buries his wife and child. Preacher Simms loves to quote Bible scripture -- often as wry commentary on events he witnesses -- but he makes most of his money as a bounty hunter. He keeps the heads of the outlaws he kills pickled in a big barrel. He collects bounties by delivering the heads to law enforcement. As Cain heals, Simms learns that the Cain's Cutthroats gang members carry healthy bounty rewards. Preacher and Cain join to hunt the 'Cutthroats; Preacher for the money, Cain for revenge.

At this point in his career, Carradine was usually a one- or two-day payday for low-budget films. But he has a substantial role in this film, and I think this may be his best performance in a low-budget film in the early '70s. He just chews up the scenery, quoting Bible scriptures  shows great comic timing, and really seems to be enjoying himself. As he tells Cain, "... I sort of mix vocations, a shepherd of the flock, a hunter of men. ..."

Brady, once a major star and still getting some A-film roles in 1970, seemed to enjoy paydays in low-budget films. He's adequate as Cain, a man who has lost everything and can't control his thirst for vengeance. Although initially the sympathetic victim, he reverts to his former heartless, criminal, sadistic tendencies. 

The simple plot has promise but the execution fails. The film, shot in Kanab, Utah, and Yucca Valley's PioneerTown in California, is very low-budget. It's directed by Kent Osborne, who is slightly less talented than Al Adamson. Both Brady and Carradine, and Robert Dix -- who plays Cain's former second in command -- worked for Adamson. With one exception, the actors who portray the 'Cutthroats are very mediocre. They seem incapable of doing anything other than whooping and hollering, and laughing at inflicting pain. The violence is poorly portrayed, with fake blood, and the scenes are shot crudely and unconvincingly. The scant budget, and 85-minute running time, doesn't provide nuance for the adversaries, nor does it provide sympathy for the protagonist Cain, who shows his rage in explosions of anger, rather than as a slowly-simmering-to-boiling cauldron.

The one positive performance from the 'Cutthroats comes from Darwin Joston, as Billy Joe, a psychopathic former soldier with serious mother issues. Joston went on to star in bigger films, including "Wild at Heart," "The Fog," and "Assault From Precinct 13,"

Now, here's the second cult reason to view "Cain's Cutthroats." There is a small but substantial role by Ed Wood actor -- and his friend -- Valda Hansen. She plays"Zelda,' who is either a barfly or prostitute who cavorts romantically with Billy Joe in a "saloon." (The low budget prevents viewers from really seeing a realistic-looking saloon.) Valda's acting is very strong. She portrays a boisterous woman who really enjoys heavy flirting with the outlaw. A second scene, inside a room where the two prepare to have sex, ends with a partially nude Zelda being strangled to death by the psychopath. He can't engage in sex due to his mother issues, and an angry Zelda insults him, triggering the homicidal rage.

Viewers need to note that the second scene, the murder -- with Hansen's character being strangled -- is missing from both YouTube and Daily Motion versions, as well as DVDs that include "Cain's Cutthroats" with other westerns. The version currently on Tubi has the film with both scenes. Other than the obscure VHS release, that may be the only complete "Cain's Cutthroats" out there. 

Another actor, Adair Jameson, is effective in a small role as Rita, a former mistress of one of the killers, who joins Cain and Preacher after her boyfriend is killed. She engages in a romance with Cain that would have helped him. However, Cain is too consumed with anger to accept her offer of love. After a particularly sadistic killing of one of the murderers, both Rita and Preacher Simms abandon Cain, leaving him for good. The final scene provides a sort of morality tale that is intended to show a broken Cain that cannot achieve peace, even at the end of his vengeance quest.

Jameson has a nude bathing scene that is not cut from any prints. She is probably best known for her tiny role in the Don Knotts comedy, "The Ghost and Mr. Chicken," where she plays an attractive bank employee, Eileen, whose fully-filled sweater is complimented by her boss, played by James Millhollin. Jameson was married to B-film actor Myron Healey ("The Unearthly").

The "spaghetti westerns" were done a lot better than this California/Utah sadistic 'oater. It boasts some original songs, which seem out of place with the grim story. Mentioned earlier is that the film was released as "Caine's Way." It was about 10 minutes longer and apparently included documentary-like footage of modern-day criminal biking gangs committing mayhem. It would be interesting to see that print. In the unlikely event a nice Blu-Ray print is ever provided for this film, I hope the "Caine's Way"footage is an extra, if it still exists.

In an interview with Cult Movies Magazine published after her death, Valda Hansen expressed a lot of enthusiasm for "Cain's Cutthroats," expressing high hopes and later disappointment that it did not get more exposure. It's one of the few films where Hansen received considerable film time, and she shows she possesses acting skills, as she also does in another '70s low-budget film, "Outlaw Riders."

As you can see from the theater ads interspersed in this review, it did get many bookings. With a bigger budget, less sadism, a bigger star, and Carradine, it might be a favorite today seen on TCM, etc. As it is, it's a mediocre, small-budget revenge western with a very small cult that's due to Carradine's truly bizarre performance, and his comic timing. Despite its shortcomings, I have developed a fondness for the film, and watch it every couple of years. I own a VHS copy.