After assisting the police in capturing “Eddie”, a serial killer who had been preying on the homeless, news anchor Karen White needs a rest and at her psychiatrist’s suggestion heads to The Colony, his own clinic. Her role in capturing Eddie had been quite traumatic and Karen can’t picture his face. Once at the clinic however, strange events lead her to believe that her life is in danger. What she does not realize is that the clinic is located near a den of werewolves. –IMDb
Joseph Dante Jr. was born on November 28, 1946 in Morristown, New Jersey, and raised in the nearby borough of Parisippany. His parents were professional golf players and his father wrote some books on the instructions of playing golf some of which included Four Magic Moves to Winning Golf, and Stop that Slice. After a bout with polio that nearly crippled him at age 7, he slowly recovered and decided to take up drawing rather than athletics as his parents did.
Dante studied at the Philadelphia College of Art after graduating from high school. As a teenager, he contributed to Castle of Frankenstein and Famous Monsters of Filmland magazines with various drawings, and upon graduation from he College of Art, he became a film critic for the Film Buletin newspaper for which he later became the managing editor. With a friend, named Jon Davidson, Dante cut together a series of movie clips and film trailers and edited them into his first short film which was titled The Movie Orgy (1968… read more
A giallo opening, a monster movie middle, and a wtf ending that borders on truly disturbing.
Thanks for the like. The obvious similarity to giallo comes in the peepshow scene, I think. You have a mysterious serial killer meeting an amateur sleuth (in this case female) in an environment saturated with images of perverse sexuality. In addition, you have the nightmare quality of the meeting itself, with Dee Wallace unable to make out the killer's face because of the lighting in the peepshow booth, the projected film, but unable to make it out to an almost irrational degree (not unlike the moment in *Deep Red* when David Hemmings *should* be able to see the face of the killer standing in the doorway of his apartment but can't, for some inexplicable reason). Plus the fact that this traumatic incident (a traumatic incident that confuses sexuality with murder) haunts Wallace's character for the rest of the film, I think creates clear parallels to all the basics of the giallo genre. Could be just a coincidence, but it's certainly not hard to see the similarities in tone and execution.