Halloween Heroine: Mary Carlisle

Published October 31, 2024 by biggayhorrorfan

Fresh as golden brass, actress Mary Carlisle was a ’30s Ginger Rogers type, enlivening many a movie musical with a zestful attitude and an ebullient sense of pep. Nicely, Carlisle also utilized this charisma in a few creaky gothic extravaganzas, as well.

1935’s One Frightened Night found her playing (The Second) Doris Waverly, a sassy vaudeville-style actress who pays a visit to her long-lost millionaire grandfather. Her arrival signals the murder of another femme claiming to be Doris and soon everyone is not only in danger…. but a potential suspect, as well.

This fun throwback is further notable for the casting inclusions of Hedda Hopper as hopeful heir Laura Proctor and Charley Grapewin as the curmudgeonly Jasper Whyte. Hopper went on to become one of Hollywood’s most celebrated/dreaded gossip columnists while Grapewin would find celluloid immortality as Uncle Henry in MGM’s classic The Wizard of Oz.

In celluloid coincidence, 1934’s Murder in the Private Car, a more comic take on the formula, also featured Carlisle as an abrupt blonde who discovers that she is an heiress…with equally dangerous results, as well.

Surprisingly, after marrying James Edward Blakely in 1942, Carlisle made only one more film. Thankfully, for celluloid junkies, this feature was the oft-circulated Dead Man Walk. Featured on multiple, cheaply made horror DVD compilations, this spooky yarn features Mary as the potential victim of horror king George Zucco. Interestingly, not only was this programmer filmed in only 6 days, but it also has the unique distinction of being released on Valentine’s Day in 1943, as well.

Happily married for decades, Carlisle became a favorite of autograph collectors in her final years. This was a role that she, seemingly, embraced, leaving behind many heartbroken admirers upon her passing at the truly impressive age of 104 in 2018.

Hopelessly Devoted To: Lisa Zane

Published October 29, 2024 by biggayhorrorfan

Many believe that a skilled singer can create visual tableaus via pure sonics alone. If that is so, then the atmosphere conjured by Lisa Zane definitely involves candle strewn nightclubs and back of house stages swathed in red velvet curtains. Due to her lilting continental flair, a Mediterranean breeze may also be an unsurprising guest once her voice begins winding it’s way out of your stereo speakers.

Indeed, Zane, best known to celluloid scare junkies for her measured and defiant performance in Freddy’s Dead: The Final Nightmare, has often proven she is, creatively, much more than just Krueger kin. Her 3 recorded releases, containing many of her own original songs, are all unique and exotic affairs.

Val D’amour, my favorite, is not only filled with classic cabaret vibes, but gritty, street smart rock n roll, as well.

Track-wise, her take on the classic If You Go Away (Ne Me Quitte Pas) provides an almost rapturous start to the proceedings while the quietly slinky You Are A Mystery to Me eventually morphs into a propulsive banger. These opening tracks brilliantly clarify the rest of the proceedings.

To single just a few others out, Sweet and Rotten is lusciously sexy while Hello Lover is an honest look at sexual dynamics between two beautifully flawed human beings. La Paloma, meanwhile, plays best to Zane’s multicultural strengths while Good Night ends the affair with the perfect shade of content solitude.

Overall, a magical aural journey, Val D’amour is highly recommended.

This and Zane’s other recordings are available on multiple streaming services or can be ordered from her website – http://www.lisazane.com

Until the next time, SWEET love and pink GRUE, Big Gay Horror Fan!

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Hellraiser at Leather Archives

Published October 18, 2024 by biggayhorrorfan

There Are No Limits!!! —- But ONLY for every sharp-faced Chicagoan who JOINS US this SATURDAY at the Leather Archives & Museum for the Hellraiser Double Feature!!!

Attendees not only get to see 2 Clive Barker classics in the kinkiest body positive venue in town, but more surprises await them, as well – including a special Barker memorabilia exhibit & a between films visit from the doppelgänger of Kirsty Cotton herself!

Intrigued? Then check out the link to the event, below!

Fetish Film Forum – Hellraiser (1987) and Hellbound: Hellraiser II (1988) Double Feature

Hope to see you there – and until the next time, SWEET love and pink GRUE,

Big Gay Horror Fan!

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Halloween Highlight: Slumber Party Massacre II

Published October 14, 2024 by biggayhorrorfan

My favorite fall feature in (the late, lamented) Soap Opera Digest was their round-up featuring the performers talking about the horror movies that they had starred in. All these years later, I’m still thrilled whenever I discover someone known for their work on daytime in a terror project.

I grew up watching the CBS soaps, the channel my mother loosely watched as she went about her daily tasks. One of the plotlines that I most remember involved The Young and the Restless‘ then bad boy Paul (Doug Davidson). As many serial cads before him, he had gotten a mousy lass named April (Cynthia Eilbacher) pregnant. After she refused to bow into his pressure to abort the child, the two entered into a brief, unsuccessful marriage. Permanently rejected, soon thereafter, the quiet, downtrodden girl left town.

Flash forward: My senior year in college, I moved into an apartment with access to multiple cable stations and I was soon taping late night horror movies, left and right. One of my favorite discoveries was Slumber Party Massacre II. A zany, rock n’ roll infused cartoon, it also gave a nod to the complicated factors involved with burgeoning female desire and almost worked as a parody of the (even then) often by-rote practices of the traditional slasher film.

To my extra hyphenated delight, Eilbacher even popped up, in a series of frenzied flashback sequences, as Valerie, the first film’s now very traumatized heroine.

Earnestly, this past weekend, while prepping to interview Deborah Brock, the film’s writer and director, onstage at a film event, I mentioned how much the presence of one of my favorite former soap actresses in the film meant to me. Gregariously, Brock let me know that Eilbacher was a true professional and a great actress to work with. In fact, as a practitioner of The Method style of acting, she got so worked up in her audition that she ran from the room, crying. Brock followed her into the hall and assured her that everyone in the room had been very impressed.

On set, Eilbacher’s intense commitment continued. She would often rock, rhythmically, by herself in the corner or crawl under the set’s bed to prep for the emotional scenes that were soon to follow. A number of crew members, concerned about her mental state, were soon placated by Brock, who informed them that the actress was just getting into character and was totally fine.

Thus, the next time you view the film – hopefully sometime this Halloween season – keep in mind that Eilbacher truly dug deep, allowing you to experience the true depth of Valerie’s longstanding torment, adding a vital component to the cult film’s long lasting, overall enjoyment.

Or, thanks to Brock (pictured, above, at Laurie’s Planet of Sound in Chicago), you can forgo that serious look at thespianism and just focus on the film’s manic, guitar infused fun!

Until the next time, SWEET love and pink GRUE, Big Gay Horror Fan!

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Queer Horror: The Slumber Party Massacre (1982)

Published October 5, 2024 by biggayhorrorfan

After a 9-year publishing odyssey, Queer Horror: A Film Guide is finally a reality. For a variety of reasons, not all of my pieces made the final cut. I will share some of those unpublished essays here, from time to time. A link to purchase the book is featured, below, as well.

The Slumber Party Massacre (1982)

Writer: Rita Mae Browne, Amy Holden Jones (uncredited)

Director: Amy Holden Jones

Cast: Michelle Michaels, Robin Stille, Michael Villella, Debra De Liso, Andre Honore, Joseph Alan Johnson, Pamela Roylance, Brinke Stevens, Pamela Canzano

Beginning life as a script entitled Don’t Open the Door, director Jones heavily reconfigured writer Browne’s original work while still retaining that legendary lesbian author’s humorous, feministic intent here.

The plot, unsurprisingly, is typical ‘80s slasher fare. A notorious killer (Villella) escapes from the psycho ward, descending upon a group of momentarily parentless teens who are imbibing beer and pot while indulging in sexual antics. Yielding his drill like a phallus, the killer makes his way through the hard-partying population until the final act when the very pretty, very unpopular girl next door (Stille) puts a decisive end to his days of murderous marauding.

Low budget even by typical grindhouse standards, this film ingratiates itself by smartly emphasizing the real-life fear of losing one’s virginity with almost every death sequence and by broadening the perspectives of its feminine protagonists. Led by the subtly assured De Liso as Kim, the female teens here are more knowledgeable about sports stats than their male counterparts and gender stereotypes are subverted with all of the film’s maintenance support staff being played, nonchalantly, by women, as well.

Despite Browne’s involvement, the Sapphic action is ultimately understated here. Reversing expectations once again, the girls’ kindly coach (Roylance) is decidedly soft spoken. Only Canzano in her short scene as a carpenter gives off a decidedly gay vibe with her fun, efficient characterization.

Queer Horror

Queer Actors in Horror: Mathews and Palillo

Published September 7, 2024 by biggayhorrorfan

The Thoughtful Moods of Mathews!

Kerwin Mathews:

Ker-winning! Best known as the swashbuckling Sinbad in the Ray Harryhausen epic, the handsome Kerwin Mathews spent the majority of his latter-day career doing television and lower budget B projects. He did provide some Hollywood glow to the early Hammer thriller Maniac and in Dan Curtis’ Dead of Night, as well. His professionalism also rose above such material as the notoriously bad Octaman, The Boy Who Cried Werewolf, and a true cheapie called Nightmare in Blood, his final credit. Much like George Nader, another similarly built gay actor, Mathews had a long-term relationship with a man named Tom Nicholl and died, hopefully very contentedly, at the age of 81 in 2007.

The Finite Raptures of Palillo

Ron Palillo:

Love Shack. Beloved to ’70s kids as the dimwitted Horshack on Welcome Back, Kotter, actor Ron Palillo also had some significant horror action on his theater heavy resume. Most notably, he staked a sharp claim as Jason’s first graveside victim in Friday the 13th Part 6. A few years later, he was one of the leads in the direct-to-video Hellgate – a project best remembered, perhaps, for his booty baring love scene. Partnered for 41 years, in an amazing testament of devotion, to a fellow actor named Joseph Gramm, Palillo died from a heart attack at the all too young age of 63 in 2012.

Until the next time, SWEET love and pink GRUE, Big Gay Horror Fan!

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Jaclyn Smith’s Diva Vu

Published August 28, 2024 by biggayhorrorfan

If the marketers back in the day had any sense, 1985’s Déjà Vu would have been renamed Diva Vu and they would have circulated ads for it in all of that era’s top gay magazines. For this is the rare film that features (extremely complicated) acting legend Shelley Winters locking lips with a bewigged Jaclyn Smith, fairly fresh off her 5-year run as the glamourous, self-sufficient Kelly Garrett on Charlie’s Angels. Throw in a regal Claire Bloom, costumed with refined elegance and dripping with purely evil joie de veuve, & you have a minor gothic horror that is a perfect fit for those of a certain age and a particular preference.

Plotwise here, we find a successful novelist named Michael (Nigel Terry) becoming fascinated by a long dead ballerina named Maggie (Smith). While doing research on her, he becomes convinced that he and Brooke (also Smith), his American actress fiancée, are the reincarnated versions of Maggie and her lover. His encounters with a Russian psychic/hypnotist named Olga (Winters), an eccentric woman who claims to have known Maggie well, seem to reinforce this belief. But when Michael begins receiving threatening letters and spooky answering machine messages from Eleanor (Bloom), Maggie’s decades-deceased mother, he knows he is either losing his mind or that something sinister is afoot. Of course, when Brooke surprises him with a visit, during a break in filming her latest project, his deadliest fears become reality, and a fiery showdown is assured for all involved.

Lushly directed by Anthony B. Richmond, the cinematographer of such modern classics as Don’t Look Down and The Man Who Fell to Earth, the project’s biggest flaws seem to reside in it’s editing. There are times when the characters’ odd actions, specifically with Winters’ Olga, are not fully addressed, resulting in some awkward storyline issues. As the film reaches it’s end, it almost feels as if scenes are missing, as well, especially in reference to the deadly transformation of Smith’s Brooke. Otherwise, in one particularly amusing moment, a very naked Terry suddenly grows a pair of bright blue speedo-underwear — without even lifting a leg!!

But the true joy here is watching the leading ladies tear up the scenery. Smith, whose speaking voice already feels like a knife on velvet, is especially effective as Brooke descends into pure evil. Meanwhile, Winters and Bloom are simply dreamy in whatever situation that the trio of screenwriters slip them into. Whether Winters is demanding a vodka from an unwilling host or Bloom is coolly accessing a rival, their screentime is pure, queer heart capturing gold.

Until the next time, SWEET love and pink GRUE, Big Gay Horror Fan!

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Unsung Heroines of Horror: Bonnie Tyler

Published August 18, 2024 by biggayhorrorfan

I truly enjoy how randomly connected life can be at times. A couple of weekends ago, after years of casually looking, I finally found an almost pristine copy of Bonnie Tyler’s Secret Dreams and Forbidden Fires in the dollar bin at Reckless Records.

Then this past Saturday, settling in for a lazy morning, I threw in my DVD of Urban Legend. I found myself delightfully surprised as I, sleepily, consumed my oatmeal and Ryze shake, having completely forgotten how much Tyler’s classic Total Eclipse of the Heart dominates the film’s incredibly memorable opening scene. How I ever wiped out Natasha Gregson Wagner’s ear shattering warble as she sings along to the tune in headless abandon, I’ll never know…but there you have it!

Of course, Tyler, notable for her distinctively gruff vocalizing style, had only a couple degrees of separation from the horror community to begin with. Her most lauded work, including Heart, was produced by the very dramatic, often bombastic composer Jim Steinman. Steinman, naturally, came to fame as the co-creator of Bat Out of Hell, Meat Loaf’s masterwork. Loaf, of course, is worshipped by terror kids for his dynamic take on Eddy in the legendary The Rocky Horror Picture Show.

Wales’ most famous export, meanwhile, hasn’t been a slouch when it comes to other forms of gothic representation, herself. It’s A Heartache, her second most identifiable tune. is featured in Resident Evil: Welcome to Racoon City while Heart along with Holding Out for a Hero, her other smash, have been used to stylistic effect in projects like Scream Queens, Fall of the House of Usher, Dead Snow 2 and The Wraith.

This may not be enough to appoint her the Official Scare Kids All-Time Favorite Soundtrack Diva — but it definitely puts her in the running.

Nicely, Tyler is still going strong – as witnessed at http://www.bonnietyler.com. Thus, there are hopefully many more spooky sonic treats to come.

Until the next time, SWEET love and pink GRUE, Big Gay Horror Fan!

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Music to Make Horror Movies By: Lou Reed

Published August 12, 2024 by biggayhorrorfan

I stumbled upon Simon Doonan’s book Transformer: A Story of Glitter, Glam Rock, and Loving Lou Reed this past spring at the Book Table in Oak Park. The exotically slim volume detailed how Reed’s poppy, gender stretching tunes supplied a shot of freedom and joy into the arm of the burgeoning queer community of the early ’70s. The book emphasized that while the troubled, often violent Reed was probably not a role model in his personal life, his artistic vision was definitely revolutionary for many.

Furthering his lavender outreach, one of Lou’s muses for many years was a Trans woman named Rachel Humphries. Throughout their often-volatile relationship, Rachel figured, importantly, in Lou’s art. She was the featured illustration on the back cover of 1974’s Sally Can’t Dance and inspired multiple songs on 1976’s Coney Island Baby and 1978’s Street Hassle.

Naturally, as both rock and horror are filled with rebellious creativity, Reed’s music has been featured in a number of terror-based shows, as well. Sweet Jane was a significant force in the recent Fear Street series, a 3-film project that thrived, importantly, on a Sapphic pulse. Titles such as Fear the Walking Dead, Zombieland, Suck and Blade: Trinity have also been lifted up by the inclusion of some of his most popular tunes.

But for me, his creativity reaches its most nostalgic heights with 1989’s New York. This offering was my college age equivalent of Transformer, offering a suite of tunes that acknowledged the AIDS ridden, yet eternally magical LGBTQIA community as it stood then.

Unsurprisingly, almost 11 years after his death, Reed is still a guiding force for many – including a fictional serial killer. A poster of him appears, prominently, in the gothic lair of the titular Longlegs, this summer’s critically lauded tale of generational horror.

Until the next time, SWEET love and pink GRUE, Big Gay Horror Fan!

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Review: Saw, the Musical: The Unauthorized Parody of Saw

Published August 6, 2024 by biggayhorrorfan

Saw, The Musical: The Unauthorized Parody of Saw is a significant win for the queer horror loving community. The creative forces behind it have taken this very hetero normative film series and created a filthy, tuneful gay romance out of it. Concentrating on the first entry’s easily producible setting and the chemistry exhibited between Cary Elwes and Leigh Whannell there, playwright Zoe Ann Jordan has devised a super silly show containing a filthily erotic romance between Dr. Lawrence Gordon and his fellow captive Adam. The lyrics & music by Anthony DeAngelis and Patrick Spencer, meanwhile, perfectly echo Jordan’s outrageously constructed scenarios. Thus, amid the male leads’ lustful duets, brilliantly fun songs such as Just a Pig (in a Fucking Wig) are also offered up.

While this Chicago cast of the National Tour is headlined by Blake Friedman, a talented and very game opera singer, as Gordon and the squeakily enthusiastic Anthony Chavers as Adam, special attention must be paid to the divine Janey Elliot. Elliot superbly portrays everyone else in the cast, with a special emphasis on Jigsaw himself and the franchise’s runaway character, the tortured and troubled Amanda.

Indeed, while most of the show is played for laughs, Elliot and the rest of the team often find the emotional heart in Amanda, offering up a plethora of poignant moments and a couple of emotionally effective power ballads. Thus, amidst the expected blood and purebred giggling, we get the essence of what draws us to these stories and themes – the beating, eternally bruised heart of those who find themselves forever just a bit outside the mainstream crowd.

More information on the production, which heads out of Chicago on 8/11/24 for the next spot in its tour, can be found at http://www.sawthemusical.com.

Until the next time, SWEET love and pink GRUE, Big Gay Horror Fan

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