Halloween Month rolls along here at Balladeer’s Blog with a look at two notoriously bad horror movies which use Andy Warhol’s name despite him not really having anything to do with them and credit Antonio Margheriti as the director even though Paul Morrissey wrote and directed them.
Sophia Loren’s husband Carlo Ponti co-produced both films.
ANDY WARHOL’S FRANKENSTEIN (1973) – Also known as Flesh for Frankenstein, this 3-D monstrosity and its sister film, Andy Warhol’s Dracula (aka Blood for Dracula) used to be among the most well-known “So Bad They’re Good” movies. Oddly, they fell pretty much off the radar long ago, but get rediscovered every so often and enjoy a brief surge in notoriety from successive generations of horror fans.
The making of these two grossout movies, which were filmed back-to-back in Italy, would make a better movie than both of them combined in my opinion. Criminal charges, false screen credits and much more behind the scenes lore would help put such a flick up there with Ed Wood and The Disaster Artist.
These two movies are also like 1970s time capsules, too. Recently relaxed standards for what could be shown on the big screen yielded a LOT of cheap films that were clearly made just to see how much gory violence and kinky titillation the creative teams could get away with.
Attaching Andy Warhol’s name to this pair of Paul Morrissey flicks helped appeal to pretentious Warhol fans and gave some critics the excuse to read deeper meanings into the sophomoric productions. Suddenly, awkward grossout scenes, idiotic dialogue and non-existent scares were being interpreted as “deconstructions of the Universal monster movies” or as “director/writer Paul Morrissey skewering the very countercultural sex revolutionaries that were among his biggest fans …”
Sheesh! At least purely mercenary splatter film legends like Herschell Gordon Lewis never pretended that their flicks were anything but cash-grabs that piled on the blood and gore.
Andy Warhol’s Frankenstein and Andy Warhol’s Dracula deserve my usual warnings to horror fans who really hate extreme violence and bizarre sex. Don’t go below the “Continue reading” line or you’ll probably regret it. These films are mild compared to Headless or Father’s Day or others I’ve reviewed, but are stomach-turning nonetheless.
So, let’s dive into two of the strangest Dracula and Frankenstein pairings this side of Blacula and Blackenstein. Continue reading
EERIE #57 (June 1974) 
NOTE: Warren Publications are fondly remembered for their horror and sci-fi magazines like Creepy, Eerie, 1984 and Vampirella (at right). As magazines and not comic books, Warren’s output was not limited by the comics code and could therefore delve into adult themes and intense violence. 
ADVENTURE COMICS Vol 1 #431 (February 1974) 
When situations demanding greater than human intervention arose, Jim could become the Spectre, his ghostly form in which he wielded vast powers that he used against earthly villains as well as supernatural menaces. 
Halloween Month continues here at Balladeer’s Blog with this look at three notorious – but not necessarily all that good – horror films from iconic Italian director Lucio Fulci. 
THE BEYOND (1981) – A woman inherits The Seven Doors Hotel, a run-down inn outside New Orleans in the Louisiana countryside. It was once the site of an infamous murder in the 1920s and supernatural activities break out as our heroine Liza Merrill (Katherine MacColl) tries to refurbish the place. 
Balladeer’s Blog’s month-long look at Halloween continues! In the past, I examined the most Halloweenish covers for Marvel horror figures like 
VAMPIRE TALES Vol 1 #1 (June 1973) 
Synopsis: One night in Los Angeles, Morbius tries to find his lady love Martine Bancroft (Adria Arjona in the movie), whom he was separated from shortly after his transformation into vampire form. He encounters Carolyn, a female member of the Children of Satan cult. 
FROM OUT OF THE SILENCE: SEVEN STRANGE STORIES (full title) (1920) – Written by Lady Bessie Kyffin-Taylor. The stories are: 
THE PHANTOM OF THE OPERA (1925) – Lon Chaney Senior’s makeup and performance as the title character were envelope-pushing for 1925 audiences. To me this is the ULTIMATE silent horror film. It may sound odd, but in my opinion this movie is the very best cinematic adaptation of the Gaston Leroux novel. 
SANTO VERSUS THE RIDERS OF TERROR (1970) – Called Santo Contra Los Jinetes del Terror in its native Mexico, this is one of my all-time favorite hidden gems among the wacked-out movies about the Mexican wrestler called El Santo. 
THE MONK (1796) – Written by Matthew G. Lewis. Though The Monk was preceded by other works of Gothic Horror like The Castle of Otranto (1764) and The Necromancer (1794), Lewis’ novel cranked up the supernatural elements a great deal. It also painted the Catholic clergy in extremely unflattering terms, at least in the initial edition. 
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