THE BODY BENEATH 1969

    

    

"Filmed in the Graveyards of England" 

     During the late 60's low budget Staten Island filmmaker Andy Milligan was cranking out ramshackle horror and grungy sex shocker films, mostly for low budget mogul William Mishkin the sleaze king of Times Square. Andy's battles with the penny pinching Mishkin are the stuff of legend and while Mishken did have the uncanny ability to market Andy's poverty budgeted epics and give them lengthy runs on the grindhouse circuit, his suspect accounting practices sent the ever violate Milligan into fits of rage.
    In 1968 at the behest of British producer Leslie Elloitt, Milligan packed up his 16 mm Auricon camera and headed off to London, where he would be seemingly free of his nemesis and could indulge in his love of Gothic settings. After rounding up the usual gang of misfits and disparate actors somewhat bizarrely Andy's first feature for Elloitt was the non-horror NIGHTBIRDS, a  very strange & downbeat story of a twisted love relationship between a pair of London street waifs. Only shown commercially once, it became a lost film until a print was recently discovered and released on blu-ray by BFI.

     For his second feature Milligan turned to his love of all things Gothic (although here with a contemporary setting) and made for all intensive purposes his most cohesive film and the one with the most straightforward narration - but still with burning hunchbacks, bright red stage blood, over blown dialogue & Andy's patented method of shooting highly un-erotic nude lovemaking sequences. Although the script is still filled with Andy's flowery overwrought prose, for once he found an actor worthy of it in the form of Gavin Reed (who later showed up in small but memorable, part in TOOTSIE). Although his haughty attitude and sneering condescending delivery would seem overdone in any other film, in Milligan's twisted universe and gutter view of the human race its a scenery chewing marriage in hell.
     Reed plays the Reverend Algernon Ford, who newly arrived in London, sets up residence at Carfax Abby (one of many nods to Bram Stoker & Lugosi's DRACULA peppered about) and looks to revive the All Souls Church. Along with his constantly knitting wife Alicia (played with an unnerving creepy silence by Susan Heard) he pays a visit on Graham Ford (Colin Gordon) who the Rev. claims to be a distant relative of. He invites Graham and wife Anna (Susan Clark) to dinner, while Anna has just had an unnerving experience in a local cemetery where she was accosted by three pasty blue faced blond haired women. Later the Rev. meets a young couple Susan's & Paul (Jackie Skarvellis & Richmond Ross) with who he also claims to be a relative of Susan and offers to officiate at their upcoming wedding.

    Seems the Rev. and his wife are part of a centuries old vampire clan who have begun to get progressively weaker caused by inbreeding and need to get some new blood infused into the family (all of which fits into Andy's favorite theme of dysfunctional families). Occasionally Alicia has to give blood transfusions to her ever weakening hubby and administer leeches to control his blood pressure. In addition sunlight doesn't kill them outright, but makes the grow weaker. After luring Susan to his home the Rev kidnaps her with the plan to turn into a baby maker in order to provide new blood into the clan and in addition sends the blue faced vampires out out for Susan who once vampirized lures Graham to Carfax Abbey for breeding purposes. In addition yet another relative Candace (Emma Jones) is kidnapped in order to use for a handy blood supply.
    Assisting the Ford's is sympathetic hunchback Spool (Berwick Kaler from NIGHTBIRDS) who after attempting to help the captives is crucified in an ornate garden with the blue faced harpies dancing about and the Rev. Ford pontificating in one of the more bizarre & surreal moments in Andy's cannon. Also hanging about is the Ford's maid, who while also showing some sympathies for the captives gets a pair of knitting needles shoved in her eyeballs for her trouble.
    The film ends in a delirious sequence with the vampires holding a meeting that allows Andy to unleash his fondness for outrageous costumes (with many looking to be made from shower curtains) and outlandish head wear for the ladies. Rev. Ford decides to move the clan to America which prompts one the vampire ladies to unleash this classic piece of Milligan dialogue - "Go to America ? Never ! What is America ? What it it made of ? Pimps, prostitutes, religious fanatics ? Thrown out of England but a few short centuries ago. They're the scum of the Earth !" - which most likely is a peek into Andy's psych and his feeling for his native country's "establishment".

     With the look of an acid tinged Hammer film shot through a Vaseline smeared lens this is for however bizarre it may seem on the surface, Milligan's most accessible film. His trademark swirling camerawork is held to a minimum, athough his 16mm camera can still be heard whirring away in the background at certain points. With the contemporary setting he doesn't have to worry (not that he worried anyways) about such things as light sockets and background traffic noises that invade his usual "period pieces" and the London setting help tremendously with the films atmosphere (much better then the usual Staten Island). As to be expected the pacing is a bit off with some long drawn out dialogue sequences (punctuated by jarring editing) & wonky sound editing- but what the heck, this IS an Andy Milligan film.
     Much of the film was shot at Sarum Chase, a Tudor style mansion in West Hampstead that served as the setting for numerous film and photo shoots including the inner gate fold of The Rolling Stones Beggars Banquet album. Andy would later shoot much of CURSE OF THE FULL MOON here - later re-titled THE RATS ARE COMING, THE WEREWOLVES ARE HERE !".
    Sadly, THE BODY BENEATH  would be the end of Andy's British sojourn as he had the to be expected falling out with his British producers. THE BODY BENEATH was never released in England but did play throughout the 70's on 42nd St. where it was co-billed with Andy's GURU THE MAD MONK. He stayed in England for awhile and ending making three movies there for the hated Mishkin - his take on Sweeney Todd with the THE BLOODTHIRSTY BUTCHERS, Jekyll & Hyde in THE MAN WITH TWO HEADS and the above mentioned CURSE OF THE FULL MOON.  

THE GHASTLY ONES 1968

"Filmed In Cranium - Cleaving Color !"

     When you watch an Andy Milligan film is not like your entering a different world, you’re pretty much stepping into another dimension. Working out of a ramshackle Victorian mansion on 1960’s Staten Island and along with a semi-regular cast of freaks & weirdos he cranked out low budget sexploitation & horror films (with many of them now considered "lost") and often working on budgets less than $10,000. Staring out with soft-core sex features he turned to horror in the late 60’s when the hard stuff began to creep into the sexploitation market and 1968’s THE GHASTLY ONES was his first foray into horror gore and his first color feature.

    As was most of his horror movies this was a period piece, taking place in Victorian times. Milligan said that he liked to shoot period pieces as then it would be harder for the film to become dated as with a contemporary setting. However as with most of his “period” pieces THE GHASTLY ONES seems to exist in some kind of weird Victorian alternate universe where thermostats & and light switches are plainly visible (most times on hideously ugly frocked wallpapered walls) along with modern bathroom fixtures and the men wear BVD underwear & boxer shorts while women parade about in slinky see-thru nighties.
    Basically THE GHASTLY ONES is Milligan’s take on the standard “relatives gather to read the will and they start getting bumped off” plot infused with Andy’s usual percent for dysfunctional marriages (with the all women portrayed as backstabbing conniving bitches & men as spineless weasels) along with religious hypocrisy(here in the form of a pervert priest) with everything scored by overwrought library music.
    In addition there are his tacky & often ludicrously garish costumes (which Andy made himself) and everything framed by his handheld WWII vintage 16mm Auricon camera (which can often be heard whirring away in the background). Because he filmed in long continuous takes moving about with his camera you end up with many “WTF” close-ups including actors pimply backs and inanimate objects such as bedposts. To add just one more bit of lunacy to the proceedings you can actually hear Andy in several scenes giving directions in the background or prompting actors that had forgotten their lines.

    Opening with a man and a woman traipsing thru the woods while carrying an insanely large paper parasol, they are then brutally killed by a knife welding maniac. THE GHASTLY ONES then introduces us to three couples with the three wives being sisters (with husbands including Richard Romanus – later in Martin Scorsese’s MEAN STREETS) who are each shown in some of the most un-erotic love making ever filmed. After being summoned by the straight outa Charles Dickens family lawyer the couples learn that in order to partake of the sister’s late father’s estate they all most spend three days on his secluded island estate. As the father had a rather unhappy marriage he instructs the couples they must fill the house with “sexual harmony and marital love” (?!).
    Upon arriving on the “secluded” island (complete with the late 60’s neighborhoods of Staten Island plainly visible in the backgrounds) the couples meet the servants including snaggle tooth imbecile Colin (Milligan regular Hal Borske) and a couple of women one of them being Maggie Rogers, another member of the Milligan stock company. Colin was the first of many simpletons that Borske would play in Andy's epics and Rogers with her very distinctive angular face was probably the best actress in his troupe. As the completed film only about 60 minutes the producers insisted Milligan film the prologue of the two early victims (although by this time Broske had lost the fake teeth that were used throughout the film and there was no money to buy new ones).

    The various killings include pitchforks, band saw dismemberment & beheadings (among others) and in which the effects range from barely competent to almost laughably bad, are interspersed with long stretches of meaningless meandering dialogue. Although their bottom of the barrel schlock Milligan's movies are always a fascinating experience to set thru - even more so when you find out more about his background and the story behind his movies (of which there are many).
   For anybody interested in the world of Andy Milligan (a homosexual who frequented the NYC S&M scene) its well worth seeking the now OOP book The Ghastly One : The Sex Gore Netherworld of Filmmaker Andy Milligan by Jimmy McDonough. A vastly entertaining and interesting read not only about Milligan, but the entire 60's early 70's NYC grindhouse industry along with the earlier underground theatre troupes that helped spawn it. There is fairly compelling evidence that he was involved in a murder at one point and although not a pleasant read (especially toward the end with his death from AIDS in 1991), its still a great book.
   THE GHASTLY  ONE is available on one of those loaded Something Weird double feature discs (along with Milligan's SEEDS OF SIN). Although loaded with scratches and green emulsion lines they help add to the overall tackiness and seediness of the proceedings. The DVD features a hilarious commentary track by Hal Broske and BASKET CASE director Frank Henenlotter including Broske relating the story behind the dead rabbit scene & other Andy stories. Something Weird also has put out Milligan's weirdly creepy THE BODY BENEATH. Fun stuff and well worth a look !