(1971)
Reviewed By-Kit Gavin Directed by Fernando Di Leo Starring: Klaus Kinski, Margaret Lee, Rosalba Neri, John Karlsen Released through: Shriek Show / Media Blasters Region 1 NTSC
Set in a rest home/clinic for various wealthy women patients, a brutal serial killer (the "cold blooded beast") of the title is on the loose. Dressed in a dark cape, he lurks round the corridors, after his initial attempt to kill a wealthy business owner with apparently suicidal tendencies, Cheryl (Lee) is thwarted, when she rings for a nurse. Later, he decapitates a nurse with a scythe, and breaks in again and once again goes on a killing spree, stalking and dispatching various victims in various bloody, gruesome methods. The hospital is populated by various oddball characters , from the inmates such a nymphomaniac (Neri) with incestuous tendencies, an agoraphobic black lesbian (Jane Garret) to the oddball doctor Keller (Kinski) who runs the asylum. After dispatching various victims in various brutal methods, the doctors decide to lay a trap for the killer, persuading Cheryl to sit in the dark recreation room, and to wait for the killer to attempt to claim another victim.
The plotline is sketchy at best with numerous gaping holes in the plotline large enough to drive a tank through. At times it errs on ridiculous. The killer, rather than acting fast, dispatches his (more often than not) nude victims bloodily and after enjoying watching them in the nude, adding to the sleazy voyeuristic nature of the piece. The "asylum" of the title, rather than the misleading misnomer of "hotel" is really a large house where inmates wonder around at will, nurses play croquet in the garden, and with some of the most unconventional treatments. A nymphomaniac is told to have a hot shower to help her satiate her urges. Inmates are treated to nude massages. Even Cheryl (Lee), seemingly normal if despondent, writhes around naked in her bed, and despite having attempted suicide is surrounded by various methods which could cause her self-harm. Maybe every plush "ladies only" asylum in Italy in the early 70’s was populated with beautiful inmates, and came complete with mediaeval weaponry and methods of torture such as an Iron Maiden, crossbows, maces, and axes, at ready disposal. I think not (!!)
Headlining the cast is Klaus Kinski, who dressed in swanky garb, despite the long hair and spending much of the film looking intense or smoking cigarettes. Di Leo says how Kinski only worked on the film for a week, but neglects to say that this was shot over two weeks. Kinski’s presence is really only there to add a star name to the proceedings together with Margaret Lee (whom he had worked with on numerous other titles mostly produced by Harry Alan Towers). Lee was changing her image from the bubble headed cute and spunky blonde she had played from the very early 60’s to the mid/late 60’s to a more vampish brunette. Without a doubt Lee looks simply gorgeous in the film, from the moment we first clap eyes on her, lying naked in her bed, to her velvet outfit she wears later in the film. Equally breath-taking if not moreso is workaholic Rosalba Neri, who made SO many films in the early 70’s, cast as the nymphomaniac Anne. Here the sultry Neri exudes sex, smouldering, not just in her frequent nude scenes but also in the outfits (Neri said in interviews that most of the outfits were her own in most of the films of the time) that she wears. Other players are John Karlsen, who turned up in movies such as Fellini’s 81/2 (in a duel role), Michael Reeves first film THE SHE BEAST, and recently in THE ORDER a.k.a. THE SIN EATER. Also present is Monica Strebel, a German actress who appeared in a handful of other titles (including Di Leo’s earlier BURN, BOY, BURN, and one-hit wonder Jane Garret (a pseudonym?) who may or may not have been a model, adding to the titillation and sleaze factor on screen. The presence of Kinski and Strebel suggests that perhaps this film was originally intended as an Italian/West German co-production, but perhaps German funding fell through?
The late Fernando Di Leo was a competent director and writer (he also assisted in the writing of SLAUGHTER HOTEL), and certainly here his ability shines though despite the lack of pacing. Di Leo was certainly no stranger to risqué material – having previously helmed titles such as NAKED VIOLENCE, AMARSI MALE/A CURIOUS WAY TO LOVE and BURN, BOY, BURN which had featured nudity and lesbianism – still quite daring for the late Sixties, but times were a-changing. He had previously assisted in the writing of Westerns (most notably up till that point with Fulci’s MASSACRE TIME) and he was no stranger to violence. SLAUGHTER HOTEL was his first foray however into the giallo genre, and he was later to work as a stylish and accomplished director in not just the poiziecchi which made his name, but dramas such as TO BE TWENTY, and VACATION FOR A MASSACRE..
Gloriously trashy and un-PC, the film has an atmosphere which errs between creepy, dark and gloomy, and out and out sleazy. The film is all based in and around one location – a big and sinister looking house, with very few of the scenes actually taking place outside it’s confines and grounds, adding to the claustrophobia of the piece. There is also a simplistic underlying, subdued music score which adds to the atmosphere of the film rather than take it away. A few years late, scores for films of this genre would become increasingly loud and thumping, starting with Guido and Maurizio de Angelis for Sergio Martino’s TORSO and ultimately reaching the non plus ultra of Goblin (or members of the band) working with Dario Argento on his various films.
The film has been released in various different versions around the world, and despite it’s shortfalls (listed below) Media Blasters has compiled the longest version of the film world wide). It was released in a heavily cut down version in the UK as The Cold-Blooded Beast (an abbreviated translation the original Italian title) and this is title it plays under here. It was released in the US as SLAUGHTER HOTEL (which Shriek Show have chosen to market it under) and ASYLUM EROTICA (to capitalise on all the flesh on display. The most notorious but considerably shorter version of the film is the French release which included most infamously a scene of hardcore masturbation in which the Neri character (clearly not her) masturbated prior to being dispatched bloodily by the cloaked assassin. As for the US release through Hallmark, who’s infamous marketing strategy of LAST HOUSE ON THE LEFT has made cult film history, much of the hype and publicity focused on the climactic murder setpiece (which featured prominently in the lurid add campaign – not shown in the gallery), exploiting the recent crimes by real life serial killer Richard Speck and with suitably lurid ad lines and admats proclaiming "The Slasher Massacre of Eight Innocent Nurses" which also crops up on the back of the Media Blasters sleeve, which uses the garish artwork from the Italian locandina.
One of the joys of the DVD under review is the inclusion of an interview with late director Fernando Di Leo (which is dedicated to his memory). The (relatively short) interview has been better edited than usual with footage from the film during the downtime when the interviewer is questioning Di Leo and the director answering honestly and concisely with regards to his memories on the film and it’s stars. He admits that he doesn’t like the film very much (he later said in an Italian magazine that he felt slightly like Ed Wood) and is very surprised at the popularity which the film has entertained world wide. Also included is the (Italian) trailer, which a gloriously garish colored psychedelic polarised montage of scenes from the film (bearing the original Italian title LA BESTIA UCCIDE IN SANGUE FREDDO) with music from the film punctuated with loud gunshots and screams of the (female) victims throughout.
Also included is an alternative mostly nudity free version of the stunning Neri lolling around on the sheets, yet bizarrely enough (and quite un-necessarily) the opening intro to the scene is of the close up of the insert (no pun intended) of Neri’s "double" playing with herself. Huh?!?. Rounding off the extras are some stills, a scant number to say the least at best given the releases it has had world wide, and two "galleries" of the two beautiful leading ladies Lee and Neri. The ones of Margaret Lee are taken from a French magazine (photos which originally appeared in Playmen magazine, taken by Angelo Frontoni) – but they are glamour photos taken some 10 years AFTER Slaughter Hotel was made and Lee was, although still beautiful, in her late 30’s. Surely it might have been better to include photos from the time, or perhaps a spread across her career as Lee did numerous photo shoots in her day. There are also a few of Rosalba Neri – mostly an Italian lobby card set from THE DEVIL’S WEDDING NIGHT (an aborted Shriek Show release).
Media Blasters encountered many problems with the release of this film – as it exists in a number of differing edits (Di Leo says as much himself). The licensor in Italy held two different edits of the film, the English language version being considerably shorted and the Italian one longer. Media Blasters have tried their best to create a "Blue Underground" version of the film (much like BU did with The Bloody Judge) i.e. a version with the most sex and violence in one composite print). The print quality deteriorate slightly during some of the more racy scenes, but it generally is not hugely noticeable other than to purists. However, the murder of the nurses at the end is the clothed variant of the film which maybe Shriek Show overlooked or were unaware of when attempting to compile this version. Given that they were originally going to release a 75 minute version, we should be somewhat grateful. The prints which Shriek Show have used alternate between beautiful and exceptional (given the rarity of prints with the porno inserts – and MB’s track record of inserting footage – ie. their Zombi 3 release) has not been the best.
But, and a big BUT at that, there is a major blunder on the disc. During one of the murder scenes, and a pretty gruesome one at that, there is a MAJOR sound gaff which lasts for just over a minute where sound bytes from footage a minute ahead plays over it – which considering the scene is atmospheric, and although it is not dialogue specific, it ruins the mood, and obliterates a loud scream. The footage does exist as well, which is even more upsetting. On an interesting/vaguely quirky note, Slaughter Hotel originally played to US drive-in audiences in a double bill with Bava’s TWITCH OF THE DEATH NERVE, another dvd reviewed previously, which also suffered with audio problems. Although both releases suffer unintentionally from bad audio (an odd turn of fate), it is quite fun to watch the two together so as to relive those drive-in days. A real shame about the audio – but this makes for a good evening in front of the home cinema with a big bucket of popcorn (to this reviewer anyway).
Other than that major gaff which upsets the tone of the film, the audio is at best fair, given the age of the film, with hisses and pops. Once again, no alternative language track, other than English, but it is nice to hear Margaret Lee dubbing her own voice, but the rest of the cast (including dubber John Karlsen) are dubbed by other voice actors – the omnipresent Carolyn de Fonseca dubbing Rosalba Neri’s character, Anne.
Attempts were made to interview Margaret Lee for the film, however this was not possible due to varying factors, and Media Blasters left it too late for interviews with Strebel, Neri, and Karlsen, which is something of a missed opportunity. An audio commentary on the film was planned with Di Leo, who sadly died before this was fulfilled, and the interview was only conducted and recorded by chance, nearly 2 years before the DVD release, hence it’s brevity.
In conclusion I was delighted to hear originally when this title was picked up, as my tastes tend to err more towards the trashier and the giallo genre as opposed to gore-soaked gut crunching zombies. The film here has been much criticised by reviewers in the past for it’s slow pace and minimal storyline and plot. The pacing is somewhat ponderous, and at times it does seem to drag it’s heels, such as in the opening sequence (lasting 5 minutes) in which the killer prowls round the asylum to find his intended victim. The film, despite it’s "flaws" is suitably wild and ends in a suitably frenzied climax where the killer, pursued by the police, none the less decides on one last massacre, armed with a mace (!!) proceeds to attack and brutally do to death some of the remaining nurses in a fit of madness.
With the presence of Klaus Kinski (one of my favourite actors), and with so much female flesh on display – together with much bloodletting the film, as well being directed by Di Leo (who’s crime thrillers are amongst the best to come out out of Italy) should be a sleaze classic, but unfortunately it never quite made it. Apparantly there is another release on the way in Italy from Raro Video but whether it will include the same footage as the Media Blasters composite release is unclear at present. It will probably be worth having both versions on the shelf, as the Italian release will both boast the original track and hopefully a complete English version. For fans of Di Leo, Kinski, Lee and Neri and trash all’italiana, it is worth picking up. Something of a missed opportunity, not an unpleasing disc by any stretch but it could have been better given what and who had available but never followed up on.
Film: 3.5 BITCH SLAPS Visual: 4.5 BITCH SLAPS Audio: 2 BITCH SLAPS Extras: 2.5 BITCH SLAPS Overall: 3 BITCH SLAPS Discuss this film or DVD in our forum.
