Cast:
William Campbell (Antonio Sordi), Karl Schanzer (Max), Lori Saunders (Dorian / Meliza), Sandra Knight (Donna Allen), Marissa Mathes (Daisy Allen), Sid Haig (The Tall Beatnik), Jonathan Haze (A Beatnik), Fred Thompson (Another Beatnik), Biff Elliot (Cafe Manager), and David Ackles (Carousel Operator) Written and Directed by Jack Hill and Stephanie Rothman.
Review:
What we have here is an interesting tale of two directors, each in their own beginnings of filmmaking. Born in New Jersey but raised in California, Stephanie Rothman did study in sociology with the University of California (Berkeley), but her focus to film came with a viewing of The Seventh Seal (1957). She subsequently did study with the University of Southern California in filmmaking, and she would earn a fellowship by the Directors Guild of America with her student film directing. She was hired by Roger Corman in 1964 to work as his assistant, and she would do a variety of tasks on films that could range from writing new scenes to final cut edits that had to be done on a set time and budget. Corman was ultimately the first and only mentor she would have when it came to filmmaking. Rothman would direct her first solo effort with It's a Bikini World (1967, although shot two years earlier) and follow it up with five further films in the next few years; her most noted film was The Student Nurses (1970), which ended up inspiring New World Pictures to make subsequent efforts within depicting nurses. Rothman's career stalled in 1974. Although she tried to find work within television and script treatments with her husband, no sales resulted from these efforts (her work in exploitation, which gave her a chance to direct, ended up as a stigma against her when trying to do work away from it). A decade of languishing misses and rejection of going back to exploitation led to her retirement, although she did find work to live on within real estate investment. On the other side, California native Jack Hill started an interest in film within study at UCLA's film school. One of his mentors would be Dorothy Arzner, and one of his classmates was Francis Ford Coppola, incidentally. Hill did a variety of side-work in his rise to the industry with Roger Corman that ranged from editing to contribution within writing/directing, such as shooting a 20-minute prologue to a TV version of The Wasp Woman (1959) or doing re-writes/direction for The Terror (1963). Hill made his formal directing debut with Mondo Keyhole (1966), which he co-directed with John Lamb. Ultimately, Hill would make fifteen films over the course of sixteen years, which ranged from horror with films like Spider Baby to lesser-known works such as The Incredible Invasion (1971, the last of four that Hill directed the US sequences in USA-Mexico productions that all had Boris Karloff as star before his death) and blaxploitation such as Coffy (1973).
Okay, history time. It all started with a film that was slated to be released in Yugoslavia that was named Operacija Ticijan [Operation Titian] (1963), starring William Campbell, Rade Markovic, and Patrick Magee. It was a thriller film involving a stolen painting, and Roger Corman (on vacation in Europe at the time) ended up being a silent partner in the hopes that he could acquire it and Americanize the feature for release later. Francis Ford Coppola was behind script supervision, interestingly enough. However, the final result was something not quite suitable for the drive-in circuit. He commissioned a re-cut and re-scored edit, which was known as Portrait in Terror. Somehow, it did not satisfy Corman, although a re-edited version of that cut would find its way into television; enter Hill, who was tasked to take the footage and write/shoot new material to go on top of what could be used with Campbell in tow (who reportedly got a nice check for his services, which angered Corman and makes me smirk a little), which turned a spy thriller into a horror film. Somehow, this version (known as Blood Bath) was still not suitable enough for Corman. Two years later, Corman wanted to try again, so he hired Rothman to make her own edits in the story while shooting new footage. So now a film that had a killer artist was changed to a killer artist vampire. To add on to this, Campbell did not participate in the re-shoots, so now Rothman had a film with a vampire lead that would have to re-cast its main lead for the vampire scenes (an actor that has not been identified). Corman at last found something worth releasing despite a film with two directors/writers that never even met and they all lived happily...nope, the story isn't over. There is yet one more version of this film that is called Track of the Vampire, which included just a little more footage to play on television (Rothman/Hill's film lasted 69 minutes). Funny enough, you probably wouldn't even know Corman's fingerprints are there at all, because he doesn't even have an on-screen credit. Rothman would later call it a "mish-mosh", while Hill thought it was "totally ruined" by the changes made to his original cut.
So...we have a Yugoslavian film that got edited / re-shot into two television films AND two feature films, and the one that we are focusing on today is the one with Rothman & Hill on the credit (strangely enough, the one cut entirely by Hill is missing, but all the other ones are there). If one intends to watch the film, the best version to watch it would be a recent release that includes a video essay by Tim Lucas that includes detail of the whole saga of what became Blood Bath with interviews that likely make for an interesting hour to listen to (a full detail also is found with a series of articles done in Video Watchdog). Of course I forgot to mention that in this portrait of a killer artist, there are also beatniks included within the process, so one really seems to be in for a familiar rendition of A Bucket of Blood. Honestly, the beatnik stuff seemed better the first time around, what with its rendition of "beatnik slang" alongside its legend about vampire artists; my favorite head-slapping moment is someone mentioning to Knight's character about a tower and the legend having "peculiar things" happening before telling them to find it for themselves because they have their own problems (that's one way to inspire someone to read up on vampires and say exposition). Hill definitely had more of the prints involved when it comes to matching his horror type over Rothman's more conscious style in women's films (although both obviously were cut on the cloth of cheap filmmaking). Trying to guess who made what can be a doozy, but just know that the film probably didn't make any more sense when it was just Hill at the helm...of shooting/re-writes - the fact that it is only an hour long might come from the fact that the seams would probably have snapped if one tried to put more logic if it lasted longer than that. In other words, the only thing to say is that the history behind its making is far more efficient than the actual result - a mess. An amusing mess with curious moments, but a mess. Campbell is a capable guy, but he can only do so much with a role that is bargain-bin killer at best, and the fact that there is a different actor in the terror scenes dilutes credibility in the same way one would see in a creature feature where someone wears a weird costume with a lack of time to act (so The Man from Planet X, but not as good). It all goes on how one views the death scenes, which can range from a decent sequence involving a friendly conversation leading to a cleaver...to someone being chased into a pool and drowned (for some reason). The fact that two of the actresses in the film look similar to each other at any rate makes this an even sillier affair. The other actors act as one could expect from patchwork, which results in distinct levels of mediocrity, with the beatnik aspects having that middling feeling of semi-seriousness that one could only bear in irony drenched in insomnia. At least one could give credit to folks like Haig (who had starred in one of Hill's short films) for not wilting like a confused cat (despite having a conflict of timing that means there are scenes with/without a beard). Saunders is okay, but the focus is technically more on Knight before we are baited and switched on who the focus is (not that it matters anyway, since one can barely make head or tails about who or what matters in the first place in plot). Schanzer is the bare minimum for folks to focus on, seeming like an abstract of a lead hero than anything. For a film with a bloody title, the count of four is probably more about what could be salvaged than any real sense of terror - it is a jumble, where the vampire twist borders on the idea that you the viewer are going to buy into a deranged descendant of a vampire that happens to change his face before turning them into wax for art...which then turn on him for the climax. Rothman and Hill's assembly of footage into what was one film into four others is a curious tale, but for a movie it is easily too average for its own good. At least Rothman and Hill can each say they went on to better things in filmmaking.
Next Time: On the shortlist a few months ago, now seems like a good time to reach out for Daisies [Sedmikrásky] (1966).
Overall, I give it 6 out of 10 stars.
