The name brand of Amicus has always been synonymous for quality films of the horror and thriller genres. There are many fans of the classic horror films of the 1960’s, 1970’s, and even 1980’s that look back fondly on such films as And Now The Screaming Starts, The Beast Must Die!, Tales From The Crypt, Asylum, etc and smile about the quality and feeling of them.
27 years after Amicus last released The Monster Club starring Vincent Price and John Carradine, the great studio has been resurrected. Does Stuck stand up on it’s own with the other films in the Amicus canon? Absolutely.
I’m not going to spoil the whole storyline here, so I’ll just give you a brief outline of the story. Obviously, it’s based on the true story of a nurse out of
Stuart Gordon takes the story further. It’s as if he sat down and said – “OK, this is what I wished would have happened – bloody horrific justice will be served!” That’s the type of feeling the movie conjures in you.
Stuart Gordon has done an excellent job of getting you involved with all the characters and establishing their places in the film. The atmosphere of the film is one of dark surrealism. You actually can understand how the driver of the car and nurse – Brandi (Mena Suvari) - is reacting when she is making very rushed irrational decisions and trying to justify to herself her actions. Even though you know she’s making very bad decisions, you completely understand where she’s coming from in some sick way. Mena does an incredible job at realistically sliding from caring nurse at an old folks home to selfish attempted murderer. It’s hard to believe anyone can take a role through all those characteristic changes in a 90 minute film, but she does successfully.
Stephen Rea gains your sympathy immediately as the down–on-his-luck Tom. Life could not be much crueler to Tom in one day. He loses his apartment and gets to a job placement service only to find out he has to sit in line for 3 hours waiting for his appointment. When he does finally get called up by the placement officer, the guy tells him that his info was never entered into the computer and he would need to fill out his paperwork again and set another appointment. Now, how many people out there can identify with a situation like this? He then has to sleep on a park bench and is told by a police officer to leave or get arrested. All the poor guy is trying to do when Brandi slams into him is get to a shelter to sleep for the night. Rea does a good job with his character, making the transformation from desperate and hurt victim to driven self-preservationist to vengeful spirit. All he really wants to do is get out of that windshield and get some medical help. And he’s going to find a way to do it.
Overall, the film is very well done. It has a good pace and is completely believable. There is no suspension of disbelief needed for this film. It is completely rooted in believability. Amicus has done it again – I give this film two thumbs up.
Stuck Review
Interview with Ingrid Pitt
Ingrid Pitt really needs no introduction. Anyone who has been a fan of gothic horror - be it Hammer or Amicus - is very familiar with her work and the classy charm she has brought to legendary films like The House That Dripped Blood, The Vampire Lovers, Countess Dracula, and others. We had the great opportunity to catch up with Ms. Pitt and as usual, she shared with us some of her great experiences in the classic gothic horror business and about her latest cameo in the new Hammer film Beyond The Rave.
Amicus Productions (AP): I would like to start off by saying thanks very much for taking the time to do this interview. It is an honor to correspond with someone who has been in such unforgettable and influential films. With that stated, let’s begin. How did you come about getting the role you played in The House That Dripped Blood?
Ingrid Pitt (IP): As far as I can remember it was because I guested on one of Jon's Dr. Who series and it had been fun. When the Queen of Atlantis was called for in The Time Monster he thought of me. So there I was.
AP: What was the shooting schedule like?
IP: Do they have those in Dr. Whos'? Oh you mean on THTDB? You are going back a long time and my memory is nearing its sell-by date but as far as I can remember it was all fairly amicable. Originally it was supposed to be a much darker story. That was before Jon got his fangs into it and turned it into a comedy.
AP: How was it working with John Pertwee?
IP: Wonderful. Always good for a laugh. He used to live in Barnes and I went to his place a couple of times before the film for some rehearsal. It always seemed to be a hoot. I also remember that his son Sean had just got a new tricycle and was scudding around the place. I had the bruises to prove it.
AP: Amicus Films are mistaken for Hammer Films a lot of times, for obvious reasons – they share some of the same actors, the gothic feel of the films, etc. What do you think separates and makes the two different?
IP: You're right about there being some confusion about what is Hammer and what Amicus. The picture of me rising from the coffin, fangs akimbo, is often used by the media to illustrate something about Hammer. Of course it is from THTDB.
AP: What were the differences that you noticed between being on an Amicus movie set and a Hammer movie set, if there were any?
IP: I suppose it's a cliche but Hammer was always a chummy company. Everybody had worked together for ages and they fitted together like a well oiled machine. They had to work together to produce film of the quality they did on the budgets they had. I didn't notice any particular atmosphere on the Amicus films. Everyone was friendly enough but there wasn't the bonhomie found 'at the other place'.
AP: You are legendary for being in some of the more “risque” Hammer Films – The Vampire Lovers, Countess Dracula, etc. Do you ever regret anything you’ve done or “shown” for a film? What do your children think when they see you in those movies?
IP: I think my movies were rather tame compared with what goes on at the moment. I've never had any problems about stripping off. I am entrenched in the ethos of 'if you have it, flaunt it.' You make me sound like a Porn Queen. Not that I have anything against PQs but the stuff I did was all in the best possible taste- as Kenny Everett used to say. If I have a regret perhaps it is that I wasn't asked to do more. When your body looks like you are wearing someone else's fat-suit it is wonderful to be able to blank out the present and think, those were the days. And the kids? They have no problem with it. They just roll around laughing.
AP: Why didn’t you repeat your role as the vampiress Carmilla / Mircalla in the second and third entries in the Karnstein Trilogy of films?
IP: I was working on Countess Dracula when they were being set up. I did read the scripts but they were nothing like Vampire Lovers and Mircalla was just part of the ensemble. Now I think I should have done them but then I was conjuring up delusions of grandeur and decided to pass.
AP: What is it like to wake up in the morning and know that you’re a part of something that is regarded as cinematic history and the foundation of gothic horror films?
IP: The only thing I think about when I wake up in the morning is what I am going to have for breakfast. I'm amazed that so many people think the films I did are still worth seeing all these years later. What is it - 48 years? Unbelievable! At Festivals I get grown men coming up to me and telling me that they met me in New York in 1975 when their father brought them to the show. Then they introduce me to their grand children.
AP: When most people think of the horror queens and women of Hammer Horror, you are the first one to come to mind. What are your thoughts on that?
IP: I'm very flattered. I remember some years ago seeing a poll of the 100 best remembered Horror actresses and I came in third. Can't remember who the other two were but I was mightily pissed off that I was third.
AP: You are involved in the new Hammer production, Beyond The Rave. What role do you play and what is the character’s connection to the events that occur in the film?
IP: Ah! Yes! A very good question. I wish I had a very good answer. I'm not sure what the diminutive of Cameo Role is but if there is one, my role in Rave from the Grave can be so described. Again it is very flattering that anyone thought enough of me to invite me to take part in the first Hammer film for 30 years. If you see it, try not to blink or you might miss me emoting.
AP: When it was announced that Hammer was beginning production on a new film, there was a real feeling of excitement in the air. When it was announced that it was going to be split up into parts on MySpace, there were a few disappointed and disgruntled fans. How do you feel about the way the movie is being released?
IP: I think it is innovative. Hammer became great by being innovative under James Carreras. I went to the screening expecting to be put off by the five minute segments. Luckily those that were screened hung together very well. I was surprised by the quality of the film and the way they had handled the Vampire lore. There was a film made in the US some years ago, I think it was called Lost Boys (or is that something from JM Barrie?) that even had a rave at the beginning. Rave from the Grave reminds me a lot of that film although that was played as a black comedy and Rave is all Vampire. I thought good things about it. I've tried to watch the episodes on MySpace and it does take a lot of getting used to. Hopefully it will be released on DVD soon and we will be able to see it in one bite .
AP: What was your favorite role in a horror movie?
IP: I quite enjoyed Countess Dracula. Lots of posh frocks and OTT acting. Downside was the amount of time it took to put the make-up on and take it off. On the days I was playing the old Countess I had to arrive at the studio at about 5.30 in the morning and sometimes I didn't leave until after eight o'clock at night. During all that time I couldn't eat so it was drinking and smoking all the time. Vampire Lovers was more relaxed and there were no night shoots as far as I can remember. Compared with some of the horror shoots I did in Spain it was all very civilised in England.
AP: What was your favorite role outside of horror films?
IP: I don't think I have a favourite. Where Eagles Dare with Clint Eastwood and Richard Burton was good fun. I also liked Who Dares Wins. I enjoyed having all those SAS men about the place. And I particularly like the fight I did with Rosalyn Lloyd. They wanted to bring in the stunt girls but we weren't having that. I am very proud of that scene. And the bruises were like badges of honour.
AP: How do you feel about the present state of the horror film industry?
IP: Not too keen on the slasher movies. I like a story that has some anchorage in reality. Or at least takes the time to shut out reality and indoctrinate the audience into the reality of the story. I think this was one of the great strengths of both Amicus and Hammer. It wasn't a matter of wham! bam! your intestines are on the plate, ma'am!. You had a premise for the story, the build-up and the resolution. I know I'm old fashioned - but that's how I like it.
AP: What kind of projects do you have going on right now? What are you keeping busy with?
IP: Main project is The Hammer Xperience. A tome taking the reader through the whole experience from the start in 1934, the company's various reincarnations and bringing the story right up to date. It was finish just before the company was taken over by Endomol. This has held the process of publishing it up a little as the book was commissioned by the old Hammer company and the new directors haven't given it the thumbs up yet. Plans to publish it for Hallow'een are still in place but time is marching on. I am also supposed to be making a film in America in August but that has gone a little quiet at the moment. In reality I have something like 54 projects out and about. Is that reality?
AP: Again, thanks for taking the time to do this interview. We appreciate you giving us a little information and background about your life and career.
Interview with Amicus Co-owner Julie G. Moldo
As promised, here is Part Two of our interviews with the new owners of Amicus. What better way to find out the future plans of the company than to go straight to the source? Julie G. Moldo would probably be considered the ultimate resource and most knowledgeable person when it comes to Amicus history. She has spent the last 30 plus years working for Amicus and it's first co-owner, Max Rosenberg. She even worked for him when he was no longer doing films under the Amicus name brand. She has now stepped up from her duties as production manager and secretary to being an actual co-producer of the new wave of Amicus films. We had the extremely wonderful opportunity to interview her about the history of the iconic studio and where she feels like it's heading from here.
Amicus Productions (AP): I just want to take this time to say thanks for doing this interview and I really appreciate your willingness to share with us your experiences working at Amicus.
AP: How long have you been involved with Amicus?
Julie Moldo (JM): Since 1977
AP: How did you become involved with Amicus?
JM: Max Rosenberg held certain rights to the Amicus catalog when the company was dormant. He opened his own office in Los Angeles in 1977. I was the production secretary on his first picture here; I intended to work for three weeks, and I stayed for more than twenty years.
AP: What was the first project you worked on for the company?
JM: “The Incredible Melting Man,” which was not an Amicus production. The first production under the banner of the “new” Amicus was Stuart Gordon’s “Stuck” (2007).
AP: From what I understand, you have basically been the overseer of the company in between owners and in its downtime? Is that an accurate description?
JM: Well, there wasn’t much downtime. Max passed away in June 2004, and Bob Katz and I began running (and owning) the company in March 2005.
AP: How did you become the caretaker (so to speak) for the Amicus legacy?
JM: I have a lot of information because I was involved with Max and Amicus for so many years —and I have a good memory. I was also a corporate director.
AP: What was happening behind the scenes of Amicus during the period of downtime?
JM: Max produced several films without using the Amicus name. I was usually credited as his associate producer. We ran a small independent production company: developing screenplays, optioning and purchasing stories and books, meeting with filmmakers and production companies, etc.
AP: From looking at a lot of the films you were involved in, it seems that you wanted to keep working on projects with Max Rosenberg. Was that the case and what led to that?
JM: I had a full time job working with Max. Besides, I had a lot of fun and responsibility with him.
AP: Over the years, several of the Amicus films have been released on DVD, but always through different studios and distributors. Has there been any interest from anyone to distribute the whole catalog and put them all out as some type of collection or set?
JM: I only know that Anchor Bay in the UK put out a coffin-shaped box set of five pictures.
AP: Does Amicus still own all the rights to the classic films?
JM: Our company, Amicus Entertainment Ltd. is going to use some of the classic titles to produce new pictures in the same style but with new stories.
AP: How did Robert Katz come into the picture?
JM: Max and I had known Bob for years. Bob is a huge fan of the Amicus pictures. When Max died, Bob and I decided to run the company together.
AP: How do you feel about the relaunch of Amicus? Do you want the new films that Amicus puts out to reflect its past legacy of horror and thrillers, or would you like to see it become more diverse? I know that there were films that originally came out through Amicus (It’s Trad, Dad!, Danger Route, A Touch Of Love) that weren’t horror or sci-fi oriented. Or is the plan already in place to keep the Amicus brand focused on horror and such?
JM: Horror was our original mandate, but Bob and I are also interested in many other genres. We have a diverse slate of pictures coming up, but our intention is to continue to produce interesting and unusual horror films in the Amicus tradition, too.
AP: Why have you continued working with Amicus all these years? What has kept you dedicated to the company?
JM: I enjoyed working with Max (as I said before), and the same goes for Bob. We’ve even made good pictures.
