By Melissa Antoinette Garza
A Pete Walker movie marathon isn’t complete without watching THE FLESH AND BLOOD SHOW (1972). I had to run to my basement and grab the blu-ray for this baby, as it’s not streaming on Amazon Prime, like so many other of his classics. It is available to purchase digitally. Had I not already owned it, I would have gone that route. It is among Walker’s best and that says quite a bit.
Like FOUR DIMENSIONS OF GRETA (1972), this movie has a few 3D sequences, so if you have the old blue-and-reds, have them ready. If not, it shouldn’t bug you too much. Sadly, unlike FOUR DIMENSIONS OF GRETA, the incomparably divine Richard O’Brien does not make an appearance. On the positive side, there are a ton of sexy ladies running around naked and some old school British gents that are the right mix of crazy and dashing. In other words, it’s a Peter Walker film.
Luan Peters and Judy Matheson, who shared the screen in the cult classic, TWINS OF EVIL (1971), kick off the film, portraying two actresses, who live together and sleep in the same bed with one another. The women are interrupted from their slumber, by a panicked knock on the door. Carol (Luan Peters) is completely nude, while her roommate Jane (Judy Matheson) is, at least, in a nightie. I’ll let you guess which gal answers the door.
There is nothing more tantalizing than the unabashed confidence of the women in Walker’s films. They own their sexuality and defy convention with every step. Walker, also does something very unique in his films. He makes certain that the audience never forgets how daring the behavior of these women are. The risque element is not only sexy as hell, but it sends a message. Pete Walker believes women should be able to do whatever the fuck they want to do. They can say what they want, do what they want and screw who they want, and to hell with anyone who disapproves. The point is, Pete Walker is my kind of feminist and provides me an endless supply of fantasy fodder. He’s a good man.
On the opposite side of Carol’s door is John (David Howey), a friend and actor. John has a terrible sense of humor! He stumbles into the house, bleeding from a fake knife wound and groaning in faux pain. The girls are furious when they find out it was merely a performance. His punishment is just a few light slaps. Being roughed up by two scantily-clad women with bodies to die for; oh, how awful, for him!
John has a new gig, at a seaside theater, that has been closed for years due to a production of OTHELLO that ended tragically. John walks into the old place and it is here that we meet the other cast members. Some of those at seaside are easily recognizable from other Walker productions. He often uses the same actors, which I enjoy.
Tristan Rogers, who starred in FOUR DIMENSIONS OF GRETA, is back again, this time playing actor Tony Weller. Ray Brooks, who was in both TIFFANY JONES (1973) and HOUSE OF WHIPCORD (1974) is here portraying another trouper named Mike. Altogether, there are 8 thespians, staying in the theater house together.
Immediately, they disperse and have fun sexing it up. There’s some pretty hot 70s action going on including a very enjoyable, but brief lesbian scene, between Jane and fellow actor Angela (Penny Meredith) that John has front-row seats for. This scene is great for two reasons. One, the chemistry is palpable. The women are magic together. The other aspect that makes this so good is the presence of John. His shocked (admittedly pleased) reaction, once again, tells the audience how free these women are. They are about themselves and what they want, especially Angela. They don’t even notice John, much like the scene in FOUR DIMENSIONS OF GRETA with lovely Serena (Felicity Devonshire) and splendidly naughty Peter (Richard O’Brien) when they were on the dance floor brazenly ravishing one another. The same is true for TIFFANY JONES, where Tiffany (Anouska Hempel) and Prince Salvator (Damien Thomas), while in feminine clothing, made out in public, in front of a prudish old couple. Some may look at it as just the intrigue of voyeurism, but it’s deeper and more intelligent than that, which is why it hits all the harder. In every scenario, the women are completely in control of their sexuality and, some people hate them for it. The naysayers are the sexists! All those conservative traditionalists, who claim they are against objectifying women, are merely trying to tell them what to do – and Pete Walker called them on that, again and again! He’s a goddamn genius and a hero to women.
Soon, strange things start occurring and it becomes quite obvious that the ghosts of the past have not settled peacefully. No, someone still stalks the halls, and seeks revenge. Who is this unknown murderous maniac? No spoilers on this one. Some movies are too good to give away.
This is a classic that deals very closely, with themes and concepts, that Pete Walker often dove into, in his horror productions. Some of the most assertive and self-possessed women in horror history were brought to screen and celebrated in Walker’s gloriously alluring ways.
THE FLESH AND BLOOD SHOW is a fun, smart and sexy slasher that leaves one wanting more. Thankfully, Pete Walker is the gift that keeps giving. Have fun travelling through this filmography as it is a brilliant and enjoyable ride into insanity.
Scared Stiff Rating: 8/10
