THE FREAKMAKER (aka THE MUTATIONS) (1973)
Director: Jack Cardiff
Subversive Cinema

Admittedly taking direct inspiration from Tod Browning’s FREAKS (1932), THE FREAKMAKER (aka THE MUTATIONS) is a rather grim British horror film that mixes oddball sci-fi motifs with the usual splashes of T&A and gore, which were a requirements by the early 1970s. Released in the U.S. theatrically by Columbia Pictures, it showed up briefly on VHS through the Vidcrest label (a company run by the film’s producer), aired occasionally on the Cinemax cable channel back in the day, and then disappeared from sight. Now Subversive Cinema has stepped up to the plate and released a better DVD of this film (back under the title the producer originally intended it to carry) that anyone could have hoped for, with a sparkling new transfer and a nice amount of extras.

Donald Pleasance stars as Professor Nolter, another cinematic mad scientist who divides his time between lecturing at an English university and conducting fantastic experiments, attempting to crossbreed humans with plant life. Professor Nolter employs Lynch (Tom Baker), a nasty fellow with a horribly deformed kisser, who runs a nearby carnival freakshow. Lynch obtains young men and women for the experiments, as he is given the hopeless promise that his face will be changed to normal one day in return for his favors. In the meantime, three students (Julie Ege, Jill Haworth, Scott Antony) befriend a visiting scholar (Brad Harris) from the U.S. who is here to look in on Professor Nolter’s research, and all four become entangled in his unspeakable doings.

Beginning with lapse nature photography by Ken Middleham (THE HELLSTROM CHRONICLE), the film unfolds as a modestly-budgeted hodgepodge of outlandish exploitation and monster fare. Donald Pleasance had so much practice in these kinds of roles, that by this time, he was playing it more subdued and controlled, but still had no trouble convincing an audience that he was a scientific wacko. Future “Dr. Who” Tom Baker is creepy as the hideous Lynch, and his makeup is quite startling, in a role right out of a 1940s “poverty row” creature feature. He’s a vicious bloke who only shows empathy when he visits a call girl and asks her to verbalize, “I love you,” to him. Jill Haworth and Julie Ege (who has a nude bathtub scene) had already been familiar eye candy in British horror, and an odd bit of casting has Brad Harris as the studious hero (he’s mostly familiar to audiences from Italian sword and sandal pictures of the early 1960s). Michael Dunn (in one of his final roles) is the dwarf carnival half-owner who leads the “freaks,” and he’s terrific as always.

The “freaks” themselves are an odd mix of made-up actors (a bearded lady, an ape girl, etc.) and authentic sideshow performers mostly brought in from the U.S. Amongst the odd assortment of “little people,” a human pin cushion, and a girl with an extreme case of anorexia, the authentic “freaks” are the Pretzel Boy (Hugh Baily), the Frog Boy (Félix Duarte), the Alligator Girl (Esther Blackmon) and Popeye (Willie Ingram), who is able to protrude his eyes from their sockets and resembles Chuck Berry! Several of their scenes pay homage to FREAKS, right down to lines like “we accept him” and “he’s one of us,” with Tom Baker’s Lynch being the adversary, throwing a fit during a celebration inside a circus tent.

THE FREAKMAKER was the last effort directed by Jack Cardiff, who today at 91 is still continuing his great career as an award-winning cinematographer. Many say this film marked a low point in his career, but it’s actually a nifty little B film and enjoyable for what is. Some very impressive monsters are seen lurking about, as well as LITTLE SHOP OF HORRORS-type man-eating plants, and the jazzy offbeat score by Basil Kirchin echoes the fine work he did on THE ABOMINABLE DR. PHIBES a few years earlier. THE FREAKMAKER is not for everyone’s tastes, but if you enjoy films like HORROR HOSPITAL and SSSSSSS, then you’ll probably dig it.

THE FREAKMAKER has been presented in its original 1.85:1 aspect ratio with anamorphic enhancement, and quite frankly, has never looked better. The colors are nicely boosted and incredibly bold, giving new life to the film’s overall appearance. Picture detail is excellent for the most part, and print damage is kept at a bare minimum. Audio options include the original mono soundtrack as well as a new Dolby 2.0 stereo mix, with the latter being the better of the two.

Two commentaries are included, the first with director Jack Cardiff (who also introduces the feature on camera). At the beginning of the Cardiff commentary, the disc’s producer Norman Hill explains that due to technical problems, his voice is heard in substitution of the original interviewer, Richard Stanley. The commentary is basically a series of questions spread out though the running time, with Cardiff giving good responses --though he doesn’t seem to remember too many specifics about THE FREAKMAKER itself. Still, he conveys what it was like working with the actors and circus performers, and discusses other aspects of his career as well, so it’s a good listen from a legendary figure in cinema. The other commentary includes producer/co-screenwriter Robert Weinbach and star/associate producer Brad Harris (who was viewing the film for the first time and impressed by the results), moderated by Hill. Weinbach and Harris have been friends for many years, so their senses of humor comes out nicely with the storytelling. Weinbach remembers everything just about the production, as this film was really his baby, so a wealth of information is shared, including some surprising anecdotes about the sideshow performers, how Vincent Price was originally considered for the lead but his agent was difficult to deal with, and much more. Cardiff, Weinbach and Harris are all included on an excellent video featurette that runs nearly a half hour, and is engrossing from start to finish.

Other extras include the original theatrical trailer, trailers for other Subversive releases, bios and a still gallery. An Easter Egg on the credits menu will showcase the film’s U.S. theatrical opening credits under the MUTATIONS title. The disc also comes packaged with a fold-out poster, as well as three mini lobby card re-productions. This is how all DVDs should be produced and packaged! (George R. Reis)

BACK TO REVIEWS

HOME