EUREKA BOX SET: Furious Swords and Fantastic Warriors: King Eagle (1971)

King Eagle is Jin Fei (Ti Lung), and he’s a wandering swordsman who runs into the Tien Yi Tong clan, who are dealing with their leader being killed. Martial artists from around the world come to try out to be the new leader, but First Chief (Cheung Pooi-Saan) has the edge, seeing as how he killed the original leader. King Eagle learns this and just wants to be left alone, but keeps getting brought into politics and intrigue, like all the killers hired to keep him from revealing the secret.

The guy just wants to be left alone and has no problem throwing a sword through a tree or a person to make his point.

Directed by Chang Cheh, this was his eleventh movie for Shaw Brothers. This features a love interest for our hero in Yuk Lin (Li Ching, who plays a twin role, as she is also the evil sister who helped First Chief with his schemes). Ah, King Eagle, you’re a good dude, even if you drag people behind your horse and set them on fire. You do save a child from being crushed, so you’re like an Italian Western hero.

This Eureka release has a commentary track by action cinema experts Mike Leeder and Arne Venema. You can get it from MVD.

WEIRD WEDNESDAY: Fearless Fighters (1971)

 

Also known as Ninja Killers or A Real Man, this started as Tou tiao hao han. Directed by Min-Hsiung Wu and written by Yang Ho, it was remixed in the U.S. by William C.F. Lo and Richard S. Brummer, who edited New Year’s EvilSchizoidGodmonster of Indian Flatsand Alabama’s Ghost, and did sound editing and effects for plenty of Russ Meyer movies. He ran the boom mic on Faster, Pussycat! Kill! Kill! 

This was distributed by Ellman Film Enterprises, who also put the original The ToyScream Bloody MurderWill to DiePanorama BlueCoed DormDiabolic WeddingThe Loves of Liszt and The Gatling Gun into grindhouses and drive-ins.

To Pa (director Mo Man-hung) and his Eagle Claw Fighting Clan are trying to rob some gold but are stopped — at first — by Chen Chen Chow, the Lightning Whipper (Ma Kei). Yes, despite having a name like that, they are able to kill the hero, but Lei Peng (Yik Yuen) takes the gold back and plans on returning it to the government. To Pa reacts to this by killing his entire family, except for his son, who is saved by Lady Tieh (Mo Man-ha).

Chen (Chiang Ming) and Mu Lan (Chang Ching-ching), the children of the Lightning Whiper, are able to save Lei Peng from prison. This allows all of them to join up and take the fight back to To Pa.

This has kung-fu vampires, a dude called the One-Man Army because he can hypnotize people before hitting them with his wild double swords, the “Solar Ray of Death,” and a bad guy who loses his arms but gains the kind of martial-arts weapons you watch these movies for. 

You used to be able to buy this for a dollar, but now, someone will put it out on 4K UHD and ask for $70. At least you’ll get a slipcover.

You can watch this on YouTube.

WEIRD WEDNESDAY: Evel Knievel (1971)

Robert Craig Knievel was the hero of my childhood. After all, who else was brave, insane or dumb enough to attempt more than 75 ramp-to-ramp motorcycle jumps in his life, a life that should have ended way shorter than the 69 hellacious years that he lived on this planet with?

How does one become a daredevil? For Evel — who was given that name by a jail guard — it all started with rodeos, ski jumping and pole vaulting. Upon returning from the army, he started a semi-pro hockey team, the Butte Bombers. In one of their games, where they played against the Czechoslovakian Olympic ice hockey team, Evel was ejected from the game minutes into the third period and left the stadium. When the Czechoslovakian officials went to collect the money for playing, they learned that it had been stolen.

After the birth of his son, Evel started the Sur-Kill Guide Service, which was really just a front for poaching in Yellowstone National Park. He was arrested for this and then hitchhiked with a 54-inch rack of antlers the whole way to Washington to plead his case.

It was around this time that Evel decided to stop committing crimes — don’t worry, he kept up with them — and get into motorcycle riding. A broken collarbone and reading Success Through a Positive Mental Attitude led to Evel working for the Combined Insurance Company of America, a job he held for a few months until they wouldn’t promote him to vice president after a few months. Whew Evel! And then a failed Honda dealership led him to work for Don Pomeroy at his motorcycle shop, where the owner’s son Jim taught him how to do a wheelie.

This led Evel to do his first stunt show that he promoted entirely on his own, even serving as his own MC. He did a few wheelies and then jumped a box filled with rattlesnakes and mountain lions. This is where you either say, “This is stupid” or become fascinated. Me? How awesome is it to have a box filled with dangerous wildlife and decide to jump a motorcycle over it? Yep, this is why I was obsessed with Evel as a child.

This led to an obsession with jumping more things — like cars — and the unfortunate side effect of getting hurt nearly every time. He crashed around twenty times — huge, incredibly violent crashes — and his Guinness Book of World Records entry states he suffered 433 bone fractures by the end of 1975.

In Evel’s 1999 autobiography, he published this photo, which showed his many, many broken bones and injuries. You can learn more at http://www.stevemandich.com/evelincarnate/knievelinjuries.htm

Evel crashed at Caesar’s Palace. He crashed jumping Pepsi trucks. He crashed outside the Cow Palace. And then he started dreaming big — he wanted to jump teh Grand Canyon. Why? Take it from the man himself: “I don’t care if they say, “Look, kid, you’re going to drive that thing off the edge of the Canyon and die,” I’m going to do it. I want to be the first. If they’d let me go to the moon, I’d crawl all the way to Cape Kennedy just to do it. I’d like to go to the moon, but I don’t want to be the second man to go there.”

The government would never allow Evel to do this. It’s even a big part of this movie — just look at the posters. Finally, he’d jump Snake River Canyon, an event whose close circuit telecast bombed, almost bankrupting a young Vince McMahon Jr. before he even bought his father’s WWF. He used the Skycycle and nearly drowned when again he failed to make the jump.

A year later, Evel would crash again jumping thirteen buses in front of Wembley Stadium. After the crash, despite breaking his pelvis, Knievel made it to his feet and talked to the crowd, announcing his retirement: “Ladies and gentlemen of this wonderful country, I’ve got to tell you that you are the last people in the world who will ever see me jump. Because I will never, ever, ever jump again. I’m through.” Frank Gifford begged him to go out on a stretcher, but Evel said “I came in walking, I went out walking!”

Of course, Evel was a carnie and kept on pulling off stunts until 1977, when a Jaws-inspired leap broke both his arms and nearly blinded a cameraman.

The life of Evel is a complicated story to tell. On one hand, he was an entertainer, out there in a jumpsuit covered with stars and a cape. On the other, he was a man who believed in keeping his word and battling the evils of drugs (a Hell’s Angel threw a tire iron on stage during one of his jumps as he had often battled against the group for being drug dealers and he ended up putting three of them in the hospital). And on another hand, he lost his Ideal Toy and Harley Davidson endorsements when he went wild on Shelly Saltsman, a sports promoter, Hollywood producer and author of the book Evel Knievel on Tour, which alleged that Evel used drugs and abused his family. To get back at him, despite having two broken arms, Evel cornered him on the 20th Century Fox backlot and beat him unmerciful with a baseball bat.

When the news of Knievel’s attack came up on the news, Saltman’s elderly mother had a heart attack and died three months later. Evel got a six month work furlough and was ordered to pay $12.75 million in damages, money he never paid. After the stunt icon’s 2007 death, Saltman decided to sue his estate for $100 million US dollars with interest, but he never got a dime before he died in 2019.

As for Evel, even his death was an event. His packed funeral was presided over by Pastor Dr. Robert H. Schuller — who baptized Evel in 2007 at his Crystal Cathedral, which led to an influx of new parishioners — with Matthew McConaughey giving the eulogy. But first — there were fireworks. Before he died, Evel said that he “beat the hell out of death.”

I told you all that to tell you about this movie.

The film begins with Evel — played by George Hamilton — giving a speech directly to us, the viewer: “Ladies and gentlemen, you have no idea how good it makes me feel to be here today. It is truly an honor to risk my life for you. An honor. Before I jump this motorcycle over these 19 cars — and I want you to know there’s not a Volkswagen or a Datsun in the row — before I sail cleanly over that last truck, I want to tell you that last night a kid came up to me and he said, “Mr Knievel, are you crazy? That jump you’re going to make is impossible, but I already have my tickets because I want to see you splatter.” That’s right, that’s what he said. And I told that boy last night that nothing is impossible. Now they told Columbus to sail across the ocean was impossible. They told the settlers to live in a wild land was impossible. They told the Wright Brothers to fly was impossible. And they probably told Neil Armstrong a walk on the moon was impossible. They tell Evel Knievel to jump a motorcycle across the Grand Canyon is impossible, and they say that every day. A Roman General in the time of Caesar had the motto: “If it is possible, it is done. If it is impossible, it will be done.” And that, ladies and gentlemen, is what I live by.”

Then we get a movie version of Evel’s life. It was originally written by Alan Caillou, who played King Sancho in The Sword and the Sorcerer. Hamilton wanted John Milius to rewrite it. Upon reading the original script, he launched it into Hamilton’s pool and beat it with an oar. That meant that he was the new writer.

Milius would go on to say that he preferred the final product to many of the other films shot from his scripts. “They didn’t restrain it or tone it down, they shot the script. The guy is just as obnoxious and full of hot air as he was in the script. Just as full of life and vitality too. He’s Evel Knievel! He wouldn’t take a dime off of anybody.”

Hamilton would later tell Pop Entertainment, when asked about the film, “The thing about it is at that time Evel was not famous. When we made that movie he took a jump over the fountains and splattered. He had not become a Mattel toy at that time. I put a writer on it named John Milius – who later wrote Apocalypse Now. He was the best of the writers of that era. I got him to write the script for me. Then Milius made me read the script to Evel. I realized he was kind of a sociopath and was totally messed. Then all of sudden Evel started to adopt lines out of the movie for himself. So his persona in the movie became more of his persona in real life. He would have been every kid’s hero on one hand, but then he went and took that baseball bat and broke that guy’s legs and that finished his career in the toy business. Evel was very, very difficult and he was jealous of anybody that was gonna play him. He wanted to portray himself and he did go and make his own movie later on. He had a great perception of this warrior that he thought he was and that was good. Then he had this other side of himself where he’d turn on you in a minute. Success is something that you have earn. You have to have a humility for it, because it can leave you in a second. It may remember you but it can sure leave you. I think if you don’t get that and you don’t have gratitude for what you are and where you are it doesn’t come back and it goes away forever.”

Evel Knievel ends with our hero successfully making a jump at the Ontario Motor Speedway and driving to a dirt road that leads to the Grand Canyon — which is about 456 miles if you take I-40. Again, he looks right at the camera and says, “Important people in this country, celebrities like myself — Elvis, Frank Sinatra, John Wayne — we have a responsibility. There are millions of people that look at our lives and it gives theirs some meaning. People come out from their jobs, most of which are meaningless to them, and they watch me jump 20 cars, maybe get splattered. It means something to them. They jump right alongside of me — they take the bars in their hands, and for one split second, they’re all daredevils. I am the last gladiator in the new Rome. I go into the arena and I compete against destruction and I win. And next week, I go out there and I do it again. And this time — civilization being what it is and all — we have very little choice about our life. The only thing really left to us is a choice about our death. And mine will be — glorious.”

Sue Lyon, who debuted as Lolita in the film of the same name, plays Evel’s woman. She’d go on to be in all manner of movies that I could go on for hours about like End of the World and Alligator.

George Hamilton seems as far from the real Evel as you can get. But he was a carnie too, as Milius related that Hamilton was “A great con-man, that’s what he really is. He always said, “I’ll be remembered as a third-rate actor when in fact, I’m a first-rate con man.””

Evel made one more movie. You should watch it: Viva Knievel!

You can watch this on Tubi or download it on the Internet Archive.

WEIRD WEDNESDAY: The Duel (1971)

Directed by Chang Cheh and written by Chiu Kang-Chien, this is about Tang Ren-jie (Ti Lung) and his older brother, Tang Ren-lin (Ku Feng), who are the adopted son and henchman of triad leader Shen Tian-hung (Yeung Chi-hing). Shen wants to retire, but before that, he uses  Tang Ren-jie (Ti Lung) and The Rambler (David Chiang) to put an end to his rivalry with rival Liu Shou-yi (Ho Ban). The plan goes badly when both bosses are killed; Tang takes the blame and is kicked out of the country. Yet when he returns, he discovers a plot to destroy both of the gangs.

What a wild movie! Tang Ren-jie has a tattoo of a woman on his chest, and it’s said that whenever The Rambler rambles, someone has to die. This being a Chang Cheh movie, you can be assured that nearly everyone will die.

In the U.S., this was released as Duel of the Iron Fist and Revenge of the Dragons. It was distributed in 1971 by United International Pictures, who also brought you ScalpelSixteen and Devil In the Flesh and in 1973 by Howard Mahler Films, who proudly presented Satanico PandemoniumThe Last Victim (Forced Entry) and The Love Doctors.

You can watch this on YouTube.

MILL CREEK LEGENDS OF HORROR: The Werewolf vs. the Vampire Woman (1971)

La Noche de Walpurgis (released in the United States as The Werewolf vs. The Vampire Woman and in the UK as both Shadow of the Werewolf and Werewolf Shadow) was the fifth time that Paul Naschy played the doomed lycanthrope Waldemar Daninsky.

Written by Naschy and directed by Leon Klimovsky (The People Who Own the DarkThe Dracula Saga), this film seems to come from another planet, perhaps because so much of it is in slow motion. It also kicked off a horror craze in Spain that maniacs like me are still enjoying to this day.

After the last film — The Fury of the Wolf Man — Waldemar Daninsky is brought back to life during his autopsy. After all, you don’t remove silver bullets from a werewolf’s heart and expect him to treat you nicely. He kills both for their trouble and runs into the night.

Meanwhile, Elvira and her friend Genevieve are looking for the tomb of Countess Wandessa de Nadasdy. Coincidentally, as these things happen, her grave is near Daninsky’s castle, so our dashing werewolf friend invites them to stay. Within hours, Elvira has bled all over the corpse of the Countess (Patty Shepard, Hannah, Queen of the Vampires), who soon rises and turns both girls into her slaves.

But what of the werewolf, you ask? Don’t worry — he shows up too, after we get our fill of the ladies slowly murdering people in the forest. Also, as these things happen, Waldemar must fight the Countess before the only woman who ever loved him, Elvira (Yelena Samarina, The House of 1,000 Dolls), finally kills him again.

There’s also a scene where our furry friend battles a skeleton wearing the robes of a monk in the graveyard. Some claim that this scene inspired Spanish director Amando de Ossorio to write Tombs of the Blind Dead just a few months later.

Daninsky’s lycanthropy is not explained in this one. Was it the bite of a yeti that made him howl at the moon? Is he a college professor or a count? Who cares!

WEIRD WEDNESDAY: Dracula vs. Frankenstein (1971)

Dracula vs. Frankenstein feels like the most Independent-International movie there is. I have no other way to explain why this movie seems like it came from another reality. It has Dr. Durea (J. Carrol Naish, in his last film), the last descendant of Dr. Frankenstein, killing women with his assistant Groton (Lon Chaney Jr., in his next-to-last movie) to try to concoct an elixir that will fix his legs and his henchman’s simple brain. They’re visited by Dracula (Zandor Vorkov, really Raphael Peter Engel, given that name by Forrest J. Ackerman and someone who once ran record stores; according to this interview in Fangoria, he’s wearing a rental cape that was once used by Bela Lugosi) who wants them to finish their cocktail so that it can allow him to walk in the daytime which he feels will make him finally able to take over the world.

The doctor and his assistant decide to set up their lab — using the Kenneth Strickfaden equipment from the Universal films — in a haunted house known as the Creature Emporium. They keep killing women while Dracula is sent after the man who put the doctor in a wheelchair, Beaumont (Forrest J. Ackerman). A biker named Rico (Russ Tamblyn) gets involved, and Dracula gets his blood hot over a showgirl by the name of Judith Fontaine (Regina Carroll).

I nearly forgot! Dracula also has the corpse of the Frankenstein Monster, which he took from Oakmoor Cemetery. He’s played by both John Bloom and Shelley Weiss. The goal is to bring that creature back to life as well. Graydon Clark is in here as The Strange, a hippie leader, and of course, the kids all drop acid.

Judith also learns that the doctor has kept her sister Joanie (Maria Lease) and her friend Samantha (Anne Morrell) nude and trapped between life and death. He’s using a special enzyme in their plasma that comes from the fear before death to create his magical elixir so that he can heal his leg, fix his quiet friend and help Dracula. His hypothesis is that if Judith watches Mike (Anthony Eisley), a hippie who has fallen for her and she for him, die, then the enzyme in her blood will be strong enough to complete his work. He sends Grazbo the dwarf (Angelo Rossitto) and Groton after them, but the little guy falls through a trapdoor and onto an axe, Groton gets shot by the cops, and he himself falls onto a guillotine, which cuts his head off.

But oh, Mike, you aren’t safe. Dracula attempts to take Judith, and when our hero tries to save her, the vampire blasts him with his ring and turns him into ashes. Now, the fanged Frank Zappa lookalike tries to drink her blood in a desecrated church, but the Frankenstein Monster falls in love, too and fights Dracula. This sounds like the kind of story an elementary student would make up in class when they should be studying, and that’s why I love it. Dracula rips off the creature’s arms and head, but gets burned by the sunlight.

Lon Chaney Jr. was in bad shape during this, lying down between takes and barely able to speak, as he could be heard. He would speak to Adamson’s father and say things like, “You and I are the only two left. They’re all gone. I want to die now. There’s nothing left for me; I just want to die.”

What makes me love this even more is the theory that this was a sequel to Satan’s Sadists, with Russ Tamblyn and the other bikers from that film coming back. Sam Sherman decided to turn it into a horror film and much of the biker footage was cut as a result. Not all of the biker footage could be cut, which is why Tamblyn and his biker gang wander in and out of the movie.

This movie has one of my favorite lines of all time, as Dracula hypnotizes Forrest and takes him to his doom. He gives him directions as he speaks, and I wonder, why doesn’t he just have him drive, as he’s already taken over his will? He says, “I am known as the Count of Darkness, the Lord of the Manor of Carpathia. Turn here.”

CHILLER THEATER MONTH: Web of the Spider (1971)

EDITOR’S NOTE: Web of the Spider was on Chiller Theater on Saturday. October 18, 1980 at 1:00 a.m. and Saturday. November 27, 1982 at 1:00 a.m.

After Castle of Blood‘s disappointing box office, Antonio Margheriti felt he could remake the film in color and have it be more successful.

Edgar Allan Poe (Klaus Kinski) is our narrator and Kinski shows up for the beginning and the ending of the movie. He’s interviewed by Alan Foster (Anthony Franciosa), who challenges him as to the truth of his stories. This leads to a bed with Lord Blackwood (Enrico Osterman) about spending a night in his castle, a place where he soon meets Elisabeth (Michèle Mercier, Black Sabbath) and quickly falls into love — and bed — with her before she announces that she’s no longer alive.

There’s also Julia (Karin Field), William Perkins (Silvano Tranquilli) and Elisabeth’s husband,Dr. Carmus (Peter Carsten). The ghosts need his blood to come back to life, but Elisabeth helps him to escape, only for him to impale himself on the gate, dying just as Poe gets there.

I adore that the tagline of this is “Based on Edgar Allan Poe’s Night of the Living Dead.” He did write a poem “Spirits of the Dead” and the 1932 movie The Living Dead was based on Poe’s “The Black Cat” and “The System of Doctor Tarr and Professor Fether” as well as Robert Louis Stevenson’s The Suicide Club. But no, he has nothing to do with Romero’s movie.

I really like the soundtrack by Riz Ortolani but this can’t compare to the black and white — and yes, Barbara Steele appearance — in the original. That said, Kinski is awesome in every second he’s on screen, looking like a complete madman.

CHILLER THEATER MONTH: The Night Evelyn Came Out of Her Grave (1971)

EDITOR’S NOTE: The Night Evelyn Came Out of Her Grave was on Chiller Theater on Saturday. November 1, 1980 at 1:00 a.m.

Emilio Paolo Miraglia created two giallo — this film and The Red Queen Kills Seven Times. This one goes more into the horror realm than the typical themes of the genre.

Lord Alan Cunningham starts this movie off by running away from an insane asylum, a place he’s been since the death of his redheaded wife, Evelyn, whom he caught having sex with another man. To deal with his grief, Alan does what any of us would do — pick up redhead prostitutes and strippers, tie them up, then kill them.

A seance freaks Alan out so badly he passes out, so his cousin — and only living heir — Farley moves in to take care of him, which basically means going to strip clubs and playing with foxes. Alan nearly kills another stripper before Farley gives him some advice — to get over Evelyn, he should marry someone who looks just like her. Alan selects Gladys (Marina Malfatti, All the Colors of the Dark) as his new wife and comes back home.

Sure, you meet someone one night and marry them the next. But nothing could compare to the weirdness of living in an ancient mansion with a staff of identical waitresses, Evelyn’s brother, and Alan’s wheelchair-bound aunt. Our heroine is convinced that Evelyn is not dead. And the other family members get killed off — Albert with a snake, and Agatha is eaten by foxes!

Gladys even looks at the body in the tomb before Alan catches her and slaps the shit out of her, as he is going crazier and crazier. Finally, Evelyn rises from her grave, which sends him back to a mental institution.

The big reveal? Gladys and Farley were in on it all along. But wait, there’s more! Susan, the stripper who survived Alan’s attack, was the one who was really Evely, and Gladyshads had been poisoned! Before she dies, the lady who we thought was our heroine wipes out the stripper, and Farley gets away with the perfect crime.

But wait! There’s more! Alan had faked his breakdown and did it all so that he could learn that it was Farley who was making love to his wife and killed her when she refused to run away with him. A fight breaks out, and Farley gets burned by acid. He’s arrested, and Alan — who up until now was pretty much the villain of this movie — gets away with all of his crimes!

This is a decent thriller, but it really feels padded in parts and tends to crawl. That said, it has some great music, incredibly decorated sets and some twists. Not my favorite giallo, but well worth a Saturday afternoon watch. There are some moments of sheer beauty here, such as the rainstorm where Alan sees Evelyn’s ghost rise.

September Drive-In Super Monster-Rama 2025: The Omega Man (1971)

September Drive-In Super Monster-Rama is back at The Riverside Drive-In Theatre, September 19 and 20, 2025. Two big nights with four feature films each night include:

  • Friday, September 19: Mark of the Devil, The Sentinel, The Devil’s Rain and Devil Times Five
  • September 20: The Omega Man, Invasion of the Body Snatchers, the Grindhouse Releasing 4K restoration drive-in premiere of S.F. Brownrigg’s Scum of the Earth and Eaten Alive

Admission is $15 per person each night (children 12 and under – accompanied by an adult guardian – are admitted free). Overnight camping is available (breakfast included) for an additional $20 a person per night. Advance online tickets (highly recommended) for both movies and camping here: https://www.riversidedrivein.com/shop/

Charlton Heston is such a complex person. He’s the patron saint of apocalyptic movies, appearing in Planet of the ApesBeneath the Planet of the ApesSoylent Green and this movie. He was also in so many religious movies, including The Ten Commandments as Moses, as well as Ben-Hur and The Greatest Story Ever Told.

He could march with Martin Luther King. Jr. in 1963, while being the President of the NRA from 1998 to 2003, saying that the government could only take away his guns if they took them from his cold, dead hands. He was a liberal from 1955 to 1961 and endorsed liberal candidates until 1972. However, he also served as President of the Screen Actors’ Guild from 1965 to 1971, a position that clashed with the liberal views of Ed Asner. After the death of the Kennedys, he worked to push gun control laws. But by 1972, he rejected the liberalism of George McGovern and supported Nixon. But at one stage in his life, the Democratic Party asked him to run for the Senate against George Murphy.

By the 1980s, he would say,  “I didn’t change. The Democratic Party changed.” He also had a huge speech, “Fighting the Cultural War,” in which he said. “The Constitution was handed down to guide us by a bunch of wise old dead white guys who invented our country! Now, some flinch when I say that. Why! It’s true … they were white guys! So were most of the guys who died in Lincoln’s name opposing slavery in the 1860s. So why should I be ashamed of white guys? Why is “Hispanic Pride” or “Black Pride” a good thing, while “White Pride” conjures shaven heads and white hoods? Why was the Million Man March on Washington celebrated by many as a sign of progress, while the Promise Keepers March on Washington was greeted with suspicion and ridicule? I’ll tell you why: Cultural warfare!”

He was complicated. Unlike many today, he was non-binary and not in sexuality. In the way he saw things, but by the end, he could also be frustrating.

Speaking of the end…

The Omega Man is the second movie — after The Last Man On Earth — based on Richard Matheson’s novel I Am Legend. Unlike the book, humanity has died off because of biological warfare, not a plague. U.S. Army Col. Robert Neville, M.D. (Heston) is one of the few survivors, figuring out a vaccine to the plague, which turns humans into vampire-like monsters. The Family, as they are called, is led by former anchorman Jonathan Matthias (Anthony Zerbe) and is at war with Neville.

Neville soon learns that others, like Lisa (Rosalind Cash) and Dutch (Paul Koslo), have survived. He’s able to give Lisa’s brother, Richie (Eric Laneuville), the vaccine, and the young man wants to save the lives of The Family, too. Instead, they kill him, which leads to a mutually exclusive battle of destruction, made even more horrible for the hero because Lisa, the woman he loves, has fallen victim to the plague and sells him out.

Director Boris Sagal died while filming another end-of-the-world movie, the TV miniseries World War 3, walking into the blades of a helicopter by accident. This was written by the husband-and-wife writing team of John and Joyce H. Corrington.

This has one of the first interracial kisses in cinema (but not the first). Rosalind Cash said to Heston, “It’s a spooky feeling to screw Moses.” He discussed this on Whoopi Goldberg’s TV show, and she was finishing the interview by saying that she wished that society could get past interracial relationships being an issue. He agreed and then gave her a huge kiss.

You know who wasn’t happy about this film? Or really didn’t care? Richard Matheson, who said, “The Omega Man was so removed from my book that it didn’t even bother me.” He said of The Last Man On Earth, “I was disappointed in The Last Man on Earth, even though they more or less followed my story. I think Vincent Price, whom I love in every one of his pictures that I wrote, was miscast. I also felt the direction was kind of poor.” Before the Will Smith remake, I Am Legend, started filming, he said, “I don’t know why Hollywood is fascinated by my book when they never care to film it as I wrote it.”

Supposedly, the scene in which Heston’s character watches Woodstock inspired Joel Hodgson to create Mystery Science Theater 3000. I want to think that that is true.

Sizzlin’ Summer of Side-Splitters 2025: The Hellstrom Chronicle (1971)

Sept 15-21 Mockumentary Week: “Ladies and gentlemen, by way of introduction, this is a film about trickery – and fraud. About lies. Tell it by the fireside, in a marketplace, or in a movie. Almost any story is almost certainly some kind of lie. But not this time. No, this is a promise. During the next hour, everything you hear from us is really *true* and based on solid facts.”

The winner of the 1972 Academy Award for Best Documentary Feature and BAFTA Award for Best Documentary, this was directed by Ed Spiegel and Walon Green and written by David Seltzer, who also wrote The Omen and Prophecy, as well as directing and writing LucasPunchline and so many more.

Dr. Nils Hellstrom isn’t real. He’s actor Lawrence Pressman, so when he’s telling you about how ants will rule the planet, he’s kidding. Or maybe he isn’t. Honestly, this is as BS as a Sunn Classics doc, but with incredible insect footage, you won’t care. I still can’t believe this played double features with Willy Wonka and the Chocolate Factory. The drugs in the 70s!

If you’re afraid of insects, this is not for you. I mean, they tear a lizard to pieces!

You can watch this on YouTube.