EDITOR’S NOTE: As the journey through Cannon continues, this week we’re exploring the films of 21st Century Film Corporation, which would be the company that Menahem Golan would take over after Cannon. Formed by Tom Ward and Art Schweitzer in 1971 (or 1976, there are some disputed expert opinions), 21st Century had a great logo and released some wild stuff.

This movie is quite literally the Batman and Superman of Italian sleaze filmmaking uniting to create some art. Those two men have many, many names, but for the purposes of this article, we’ll use the names that they used most often: Joe D’Amato and Bruno Mattei.

Producer Franco Gaudenzi wanted to bring the movie The Wild Pussycat to Italy, but it would have never made it past the Italian censors. For some reason, if the movie was made in Italy, it would pass. This is the country where it’s legal to call your movie Zombi 2, but illegal to use Mrs. Ward’s name. Let’s forget the complexities of law when it comes to exploitation cinema and move on.

D’Amato and Mattei took up the challenge of remaking this movie for Italian audiences with both writing the script and co-directing the picture, even if only D’Amato got directing credit. What was important for the producers was that the film could play theaters and it passed the Italian censorship board on November 5, 1975 after some lesbian elements and scenes with sodomy were removed.

Ironically, when this was brought to Switzerland by Erwin C. Dietrich, he added in actual hardcore scenes with French actress Brigitte Lahaie (who is in Fascination) and dubbed it into German, releasing it as Foltergarten der Sinnlichkeit (Torture Garden of Sensuality) and Die Lady mit der Pussycat (The Lady with the Pussycat).

Truly, scumbag pictures bring all the nations of the world together, do they not?

Francoise (Patrizia Gori, The Return of the Exorcist) has had enough of the abuse from her gambler cad of a husband Carlo (George Eastman!), so she jumps in front of a train. Her sister Emanuelle — no, not Laura Gemser just yet, she’s played here by Rosemarie Lindt from Salon Kitty — gets revenge by drugging Carlo and restraining him in a soundproof room. There, she teases him through two-way mirrored glass as he’s forced to watch her make love to numerous men and women, all while he’s repeatedly dosed with LSD.

Finally, Emanuelle enters the room and attempts to castrate Carlo, who has been repeatedly fantasizing about killing her and finally does so for real. His joy is short-lived as while he’s hiding in the secret room, he gets locked in and the police closed down the crime scene for thirty days, basically leaving him to die.

This is exactly the kind of movie that you’d imagine D’Amato and Mattei would make together, filled with numerous sex scenes, frequently spinning and zooming camera angles and a cannibalistic feast sequence.

Back when we reviewed Emanuelle In America, the guys at Severin said, “If you thought that was rough, watch this one.” Their release has a great George Eastman interview in which he says that D’Amato had the ability to do bigger and better things, but preferred doing ten B movies a year than one A film. You can get the Severin edition of this film and see just how good-looking a completely irredeemable piece of trash — I say that with love — can look.

21st Century released this — according to Temple of Schlock — as Emanuelle’s Revenge, Blood Vengeance and Demon Rage. 

In this film by Chih-Hung Kuei (Ghost Eyes, Virgins of the Seven Seas), three stories of the supernatural are told. It started as 45 minutes of footage and then became an anthology film, with the original footage being the third episode.

In the first story, “The Haunted House,” finds Li (Chung Wang) and Wang (Locke Hua Liu) taking a bet — Castle of Blood-style — with their friend Chou (Wei Szu) that they will all stay overnight in what is said to be a haunted house. Each of them has a plan to frighten the others, but everything backfires and they all die, potentially being the spirits that haunt the next person to take this dare.

The second story, “The Cold Skeleton,”is about a mother and her son Chang Sung-Ken (Lin Wei Tu) who sell flowers in the village. They have a bond that goes beyond death, as she has promised him that she would come back when she passes on to be there for him. Her body keeps showing up again and again, even after he keeps reburying her. The secret? In his sleep, he’s been digging her up so she can come back home. He joins her in death by committing suicide.

In the final episode, “Wolf Of Ancient Times,” a college student named Sung Li Ho (Hong Hoi) and his assistant keep getting kicked out of different places because the scholar — bucktoothed and on the make, like a mix between a Jerry Lewis character and the protagonist of a nude-cutie — keeps attacking women. They finally make their way to a woodcutter’s house in the fog, where he has two gorgeous daughters who team up to seduce the student, yet before they do the deed, they reveal themselves as jiangshi, or the traditional Chinese hopping vampires. Luckily, the assistant is prepared with a charm around his neck! This was going to be called The Sex Wolf if it had been a full feature.

I love that each of these stories switch tones, whether that means that they’re like an EC Comics story, a poignant story about grief or almost a parody of sex films that ends with the intrusion of the unknown.

Corrupt officials have taken bribes and allowed a band of Japanese pirates — which includes Han Yingjie (Han Ying-chieh), Hakatatsu (Sammo Hung) and Simon Yuen as a bald pirate with a bo staff — to terrorize the South China coast. A small band of fighters, led by husband and wife Wu Ji-Yuan (Pai Ying) and Wu Ruo-Shi (Hsu Feng), have come together to stop them.

Made at the same time as The Fate of Lee Khan, director and writer King Hu has made a world where one big fight still solves things, but to get there our heroes must endure corruption at nearly every turn.

Yet what an ending, as Sammo makes for a wonderfully brutal final boss after a film filled with not just amazing action, but plenty of gorgeous coastal scenes. Hu also realizes that the music is not just wallpaper, but instead makes the fights more dramatic and impactful.

The Eureka 4K UHD of The Valiant Ones is packed with extras, including a limited edition O-card slipcase featuring new artwork by Grégory Sacré, new audio commentary by Asian film expert Frank Djeng, an interview with critic and Asian film expert Tony Rayns, a video essay by David Cairns, interviews with stuntman Billy Chan, Ng Ming-choi, Hsu Feng by Frédéric Ambroisine and Roger Garcia. Plus, you get a limited edition collector’s booklet featuring new writing on the film by Jonathan Clements.

You can get this from MVD.

Based on Wu Cheng’en’s novel Journey to the West — specifically the story of Red Boy — The Fantastic Magic Baby. Chang Cheh pretty much makes Peking opera — there’s even an entire filmed version of one after the main movie — in which Red Boy (Ting Wa-Chung) comes to collect a tribute from the humans who worship the gods Princess Iron Fan and Ox Demon King, who are his parents. He ends up kidnapping Tripitaka (Teng Jue-Jen), a monk whose flesh is said to add thousands of years to your life when consumed, which means that Monkey King (Lau Chung-Chun) and Pigsy (Chen I-Ho) need to fix things.

I tell you that synopsis and it doesn’t matter, because this is basically an hour of long fights, musical sequences, little speaking, wild costumes — stone men and tree people! — and gorgeous visuals filmed against solid colored backgrounds. There’s also so much fog that Lucio Fulci would say, “This is almost enough fog.”

This just washed over me, delighting my senses with its gorgeous visuals and athletic fights. It moves so quickly that you can just sit back and take it all in and feel good in the knowledge that you’re seeing something unlike any other film out there. I love that so many Shaw Brothers movies are shot on sets and this is the extreme version of that, as there’s not even an actual physical location as much as these are shot within a candy colored, misty wonderland.

With fights put together by Peking opera star Li Tong-Chun and Lau Kar-Leung, this is all the action you want in addition to all that arty feel. You can tell people you’re watching high culture.

In 1974, Shaw Brothers worked with Hammer to make The Legend of the 7 Golden Vampires. That ignited a desire to not only make martial arts films, but supernatural ones. And man, as the studio goes on, these movies grow more deranged in the very best of ways.

Ho Meng-Hua (The Mighty Peking Man, Oily Maniac) directed this and it only hints at how far Hong Kong horror would go. Lang Chia Chieh (Lo Lieh) wants to be with Mrs. Zhou (Tanny Tien Ni), but she’s in love with Xu Nuo (Ti Lung) who only wants to be with the love of his life, Wang Chu Ying (Lili Li Li-li). In order to win her, Lang Chia Chieh goes to magician Shan Chen Mi (Ku Feng) and has him cast a spell on Mrs. Zhou. It works, if just for a night, and she soon learns that she too can turn to the spirit world to win over the lover that she wants.

These magic spells are incredibly organic and gross. Like, you need to cut off someone’s finger and leave it under your intended person’s bed until it turns into a pile of maggots. Or to kill someone, you put worms directly under their skin.

There’s a lot of soap opera in this but every time you think it’s getting slow, someone gets half naked or makes a possessed rice ball with blood and breast milk, so you can never say it’s bad. It’s just the first course for how completely out there these movies will get.

Inspired by the huge success of the Japanese superhero versus monster fare such as Ultraman and Kamen Rider in Hong Kong, the Shaw Brothers produced the first Chinese superhero in 1975, which they called Infra-Man. However, they pushed the envelope created by the Japanese even further, inventing a world where a school bus can crash, Hong Kong can be destroyed, an earthquake can happen and monsters appear all within the first minute of the film.

Let me see if I can summarize the blast of pure odd that I just watched at 5 AM: Princess Dragon Mom (known in the original version of this film as Demon Princess Elzebub) is a ten million-year-old mother of monsters who wants to destroy the Earth. She carries around a whip and has a dragon head on her hand, but can also turn into a monster herself. She also has an entire legion of beasts ready to do whatever she asks, like her assistant She-Demon (Witch-Eye in the original), who is an Asian girl with a hand that has an eyeball in the middle of it. Also: both of these ladies wear metallic bikinis with skulls all over them and have several costume changes. They also have an army of cannon fodder dressed in skeletal costumes, which was obviously the influence for the Skeleton Crew in the new episodes of Mystery Science Theater 3000.

They’re battling with Science Headquarters, led by Professor Liu Ying-de. He’s used the BDX Project to transform Lei Ma (Danny Lee, The Killer) into the bionic kung-fu kicking motorcycle riding Infra-Man, who has whatever powers he needs for any situation. He’s also really good at getting tall and stepping on monsters until their green blood pours out. Bruce Lee tribute actor Bruce Le also appears as Lu Xiao-long, another member of the team.

You get all manner of monsters in this one — the Emperor of Doom, the Giant Beetle Monster, an Octopus Mutant, the Driller Beast, a Laser Horn Monster and the Iron Fist Robots. All of them are given to dramatic pronouncements, overacting and blowing up real good.

Believe it or not, Roger Ebert said, “When they stop making movies like Infra-Man, a little light will go out of the world.” Twenty-two years later, he went even further: “I find to my astonishment that I gave Infra-Man only two and a half stars when I reviewed it. That was 22 years ago, but a fellow will remember a lot of things you wouldn’t think he’d remember. I’ll bet a month hasn’t gone by since that I haven’t thought of that film. So, in answer to those correspondents who ask if I have ever changed a rating on a movie: Yes, Infra-Man moves up to three stars.”

He’s right — this movie is completely unhinged, with dragon witch women who threaten to throw little girls down volcanos, blotting out the sun and rocket fists. They should have made five thousand sequels to this.

You can watch this on YouTube.

My Drive-In Asylum co-host Bill Van Ryn shared an ad for a movie that I’d never heard of on his Groovy Doom Facebook page and it has fascinated me. What could Death Is Not the End be? Dr. Kent Dallt, Professor of Psychology at UCLA, said “I can’t explain the film you are about to see. I doubt anyone can.”

While G-rated, this movie was not recommended for younger children.

So what is it?

That took some detective work.

First off, it was directed by Richard Michaels. He started his career as a summer assistant to legendary New York sportscaster Marty Glickman before becoming a script supervisor. He worked in this role on several films and TV series before directing episodes of Mr. Deeds Goes to Town and The Odd Couple, as well as producing Bewitched, a show he would direct 55 episodes of.

That show would change his life, as he and star Elizabeth Montgomery fell in love during the eighth year of the show, breaking up her marriage to William Asher and his to Kristina Hansen. They were together for two and a half years.

The rest of his career was spent in TV, mostly directing TV movies such as The Plutonium Incident, Scared Straight! Another Story, Heart of a Champion: The Ray Mancini Story, Leona Helmsley: The Queen of Mean and many more. He retired in 1994 and currently lives in Hawaii. His daughter, Meredith Michaels-Beerbaum, was the first woman to be ranked #1 in the world in equestrian show jumping.

In the midst of his career, in 1975, is Death Is Not the End, which was written by another TV veteran, Elroy Schwartz. The brother of Sherwood Schwartz, he and Austin Kalish wrote the original pilot for Gilligan’s Island, which went unaired until TBS showed it in 1992. He would continue to be a writer on the show along with his brother Al. In 2000, the Los Angeles Times reported that Schwartz and Kalish were suing Sherwood, saying “They charge that the older sibling has been cheating them out of “Gilligan’s Island” credits and royalties for decades. The dispute apparently began in 1963, when Elroy and Kalish say they wrote most of the pilot show. Sherwood was the producer and, as a favor, they honored his request and put his name on the script as a co-writer, the suit says. Ever since, they charge, Sherwood has tricked them out of their share of royalties and has controlled the rights to the show, which has made him as rich as, say, Thurston Howell III.”

Kalish was no neophyte to writing. He and his wife Irma wrote hundreds of television episodes, including memorable installments of Good Times, Maude and All in the Family. It is believed that he conceived the show’s characters, including giving each of them (and the boat, the S.S. Minnow) his or her name. In his obituary in The Hollywood Reporter, it was said that “Years after the show ended, Kalish said documents were uncovered that indicated he should have been entitled to one-quarter ownership of the series, worth about $10 million, but he received nothing.”

But back to Elroy Schwartz.

Before working in TV, he wrote for some of the best known comedians of the 40s and 50s, including Lucille Ball, Groucho Marx and Bob Hope.  Outside of his writing work, Schwartz was a licensed hypnotherapist who specialized in past life regressions, which brings us closer to the truth of what exactly this movie is.

The AFI Catalog says, “Writer-producer Elroy Schwartz, president of Writer First Productions, signed a distribution deal for 75 IT with Libert Films International, the 7 Apr 1975 Box Office announced. The 25 Jul 1974 HR stated that 75 IT would premiere at the Atlanta International Film Festival in GA on 16 Aug 1976, but the 15 Dec 1975 Box Office claimed that the film’s premiere occurred a year later, on 8 Dec 1975, in Phoenix, Arizona. When a new releasing company, Dona Productions, took over distribution in 1976, the film’s title was changed to Death Is Not the End, according to production materials dated 6 Aug 1976 in the AMPAS library files. Schwartz, a Palm Springs, CA, hypnotherapist and television screenwriter, wrote in the document, “There wasn’t any established script. The movie is a “happening” — a spontaneous filming of a hypnotic regression into reincarnation, and “procarnation” — a look into the subject’s next life.” He described the film to the 15 Dec 1975 Box Office as a “filmed psychic experience.”

While Writer’s First only has this movie and episodes of the show Dusty’s Trail as released and Dona Productions seems made just to distribute this film, there’s plenty more info on Libert Films International, which seemingly was a tax shelter used to distribute films like Rum Runners, Angela, Encounter with the Unknown, The Great Masquerade, My Brother Has Bad Dreams, Mario Bava’s Roy Colt & Winchester Jack, The Devil With Seven Faces, Never Too Young to Rock, Willy & Scratch, Charlie Rich: The Silver Fox in Concert, Beyond Belief and Stevie, Samson and Delilah.

It was then picked up in 1977 by Cougar Pictures, who also distributed The Flesh of the Orchid, Starbird and Sweet William, Scream, Evelyn, Scream! and Beyond Belief.

The IMDB listing for this film is sadly absent of much info beyond this quick description — “The mystery of life eternal is discussed by a number of purported experts in various fields of metaphysical research, as well as individuals who assert that they’ve lived before.” — and the cast and crew. Let’s get into those.

Listed actors include Ken Dallet, Wanda Sue Parrot as a reporter and Jarrett X as a laborer, as well as Schwartz playing himself. So much for more information on the actors. As for the crew, IMDB lists Hal and Charles Lever as executive producers. And…another dead end.

What about the music? It came from Mort Garson, who wrote the song “Our Day Will Come,” which is on the soundtrack of Grease 2, More American Graffiti, Under the Boardwalk, Shag, Buster, She’s Out of Control, Love Field, The Story of Marie and Julien, You Should Have Left and Role Play. He was an electronic musician who released music based on the zodiac, so this makes sense.

The Zodiac’s Cosmic Sounds was a 1967 concept album released by Elektra Records that had early use of the Moog synthesizer by Paul Beaver (“a Scientologist, a right-wing Republican, unmarried, and a bisexual proponent of sexual liberation” who helped build Keith Emerson’s custom polyphonic Moog modular synthesizer, did the sound effects for The Magnetic Monster and composed the score for The Final Programme) with music written by Garson, words by Jacques Wilson and narration by folk musician and Fireside Theater producer Cyrus Faryar, all with instruments played by members of the Wrecking Crew studio collective, such as Emil Richards, Carol Kaye, Hal Blaine, Bud Shank and Mike Melvoin.

He was an early adopted of Moog and even though he wrote the theme song for Dondi, we won’t hold it against him. After all, he wrote the song “Beware! The Blob!” for the Larry Hagman directed sequel. His song as The Zodiac, “Taurus – The Voluptuary,” also shows up in several gay adult films of the early 70s, including the Satanic-themed Born to Raise Hell, which also uses his songs “Black Mass,” “The Ride of Aida (Voodoo),” “Incubus” and “Solomon’s Rising.”

That’s because Garson was also Lucifer, the electronic artist that released Black Mass — also called Black Mass Lucifer — that AllMusic reviewer Paul Simpson says is “a soundtrack-like set of haunting Moog-based pieces which interpret various supernatural and demonic themes.”

Even wilder, he also scored René Cardona Jr.’s Treasure of the Amazon, Paul Leder’s Vultures and Juan López Moctezuma’s To Kill a Stranger. And oh yeah — ten episodes of an Alex Trebek hosted game show, The New Battle Stars, had him compose the theme. On this show, celebrities seated in triangles answered game questions for the contestants. The object of the game was to capture three celebrities by putting out lights around them and the stars included Rip Taylor, Linda Blair, Jim J. Bullock, Fannie Flagg, Richard Simmons, Charles Nelson Reilly and more.

Alan Stensvold was the cinematographer for Death Is Not the End. He shot everything from Bigfoot and Wildboy to The Astral Factor, Dimension 5, Cyborg 2087, Thunder Road and the TV show Dusty’s Trail, which is where he had to have met Elroy Schwartz, who was the co-creator with his brother Sherwood.

This movie was edited by Joan and Larry Heath. While Joan has no other credits, Larry has a large portfolio of work on TV, including 106 episodes of Rhoda, 46 of Simon & Simon, the film Billy Jack and along with episodes of Gilligan’s Island, also worked on Dusty’s Trail.

All of these many facts don’t get me any closer to finding this movie or knowing more.

Luckily, there was an article in The Tampa Times from April 4, 1977 that gets me closer.

Hypnotist explores uncharted areas of the mind by Noni Brill

Elroy Schwartz, stocky, cordial, gregarious, doesn’t look like a Svengali, but, he says, he’s “a hell of a hypnotist.” Schwartz is in town from Los Angeles, where he’s a full-time writer and producer (he’s written for such TV shows as I Love Lucy, Gilligan’s Island and Movie of the Week and a sometime hypnotist who’s delved into unchartered areas of the mind. From these explorations have come both a book, The Silent Sin, and a movie, Death Is Not The End, scheduled for showing Monday night at the Tampa Theatre. His book, written six years ago, deals with a hypnosis subject whom he “regressed,” or took backward in time, over a period of several months, eliciting from her unconscious several past lives she felt she had lived in various reincarnations. In one reincarnation, the subject went through a reenactment of labor pains. For Schwartz, “It triggered something in my mind.” He thought, “If we can go backward in time, why can’t we go forward?” He tucked the thought away for a while, but some time later met Wanda Sue Parrot, a newswoman with the Los Angeles Herald Examiner, and “got good vibes from her.” They started work on regressing, and when he felt she was really in touch with her subconscious, Schwartz asked her to go forward in time to her next life.

He was in for a shock. Wanda was “reborn” as a mutant inhabitant of a world recovering from the near-annihilation of an accidental atomic detonation from China. What had been the United States was now “America’s Islands,” fragmented, with whole sections gone from the map. She lived in “Utah County” in the year 75 I.T., which, the hypnotist found, meant International Time, a time system set up by the “World Tribunal,” which governed what was left of Earth.

From the concept of this horror story evolved the movie, which was filmed live as Schwartz put his subject repeatedly into a trance state under the supervision of a medical doctor.

“It’s not edited except for time,” Schwartz said. “Producers have told me it’s not technically a movie, but it has a tremendous impact. Wherever it’s shown, people thank me. They want to see it again.” For himself, Schwartz “knows what we have is real. Maybe this is a warning; maybe we can stop history if we stop and think what we’re doing.” For now, he’s trying to find practical and creative ways to utilize his gift.

He worked for some time at a halfway house for girls in California, treating young drug addicts. He thought, “What if I could get them on imaginary heroin, then break them of an imaginary habit?”

“They reacted totally to the imaginary fix,” he recalled. “They got the sniffles, got very down in demeanor,” He found that the ritual of “shooting up” was as important as the actual drug, and “I learned a lot about the ghetto, about heroin, about addiction. Mainly it was low self-image that kept them on the drug; I tried to improve that image.” ‘ He says he’d like to do further work with a drug control program, but “I’d need a sponsor.” Schwartz has never charged for his work. ”

Hypnotist Elroy Schwartz says he can take his subjects back and forth in time. “I find it totally fascinating. The mind is an incredible machine, a computer. It stores up all visual, audio, input, the senses you’ve had since the day you were born.” He thinks anyone can hypnotize Tm a catalyst. If you taped what I say, you could do it, too.

On a one-on-one basis, I’ll use my eyes, but it’s not necessary. You hypnotize yourself; it’s all there on your computer tapes. I only bring it out.” He believes that many people still see hypnosis as “voodoo, black magic. But it’s a good tool medically, in criminology, dentistry.” He feels that people can be taught to hypnotize themselves out of headaches, or into a quick refreshing nap, can lessen physiological pain. He has this capacity himself, he said, and last fall, while waiting in the emergency room of a California hospital where he had been rushed because of pain, Schwartz said he successfully psyched himself out of his symptoms to such an extent that he “fooled the doctors.” When they operated, they were startled to find that he needed three major surgical procedures.

‘They told me later I was six to 12 hours away from death,” he . said,”But I’d kept all my vital signs normal, and they couldn’t believe it was an emergency.” One thing haunts him. After his sessions with the woman reborn into the future, Schwartz realized there was one question he had “forgotten” to ask. In this strange new world with its lands destroyed by a holocaust and its population mutated, who was he, where did he fit into the future? His eyes grew thoughtful. “I’ve always wondered who she was talking to…”

Schwartz is listed as the co-author — along with Dr. John Woodbury — of The Silent Sin: A Case History of Incest. He conducted the hypnosis that allowed the patients to recall their blocked memories of incest.

The Seventh Sense is another Schwartz book — “A web of murder. A mystery for forty years! Linda Packard was murdered in June, 1952. In April, 2000, Jenny Matthews is hypnotized and, although she does not believe in reincarnation, is regressed to a prior life – Linda Packard. Research proves the reincarnation to be true! With information from Jenny’s subconscious, as Linda, they identify her killer!” — that seems to be self-published on Amazon. He also wrote Enron to the 5th Power, VANISHED (The Snowbird Jones Mysteries), The Iron Christmas Tree, Hyena, The President’s Contract — “When the President of the United States joins forces with the Mafia, the bizarre result is the President’s Contract. Beautiful girls, Black Power advocates and the hilarious misadventures of the V-P complicate their scheme.” — and Tulsa Gold.

Amazon even has a bio: “Writing principally for television and film entertainment, the comedies and dramas of Elroy Schwartz have been enjoyed by millions of viewers over several generations. You may have seen his work in episodes of The Six Million Dollar Man, It Takes a Thief, The Lucy Show, Gilligan’s Island, Baywatch, The Brady Bunch, Policewoman, McHale’s Navy and General Hospital as well as the original or reruns of his movies for television, The Alpha Caper and Money To Burn, among others. Elroy has also worked as an executive story editor, consultant and producer. Today he writes mystery and adventure stories for print and e-book publication. Elroy and his lovely wife Beryl are longtime residents of Palm Springs, California, which is also home of the historic Agua Caliente Indian Reservation. The largest collective landowner in the area, this sovereign tribe stewards more than 31,500 acres of ancestral lands, including the protected Bighorn sheep habitat. The Agua Caliente Band of Cahuilla Indians owns two major casinos and hotels, the Spa Resort Casino in downtown Palm Springs, and the Agua Caliente Casino in Rancho Mirage, California. One of the Indigenous Peoples of North America, the tribe strives to maintain its cultural heritage and past, while supporting and helping to develop the communities of Palm Springs, Cathedral City, Rancho Mirage, and other areas of Riverside County.”

Sadly, Elroy died in 2013 and if this movie is to be believed, he’s moved on to his next life.

The problem is, that’s all I can find about this film.

So this is where I’m asking for help.

If you know anything else about Death Is Not the End, if you have a print, if you’ve seen it — email me at bandsaboutmovies@gmail.com

I’m obsessed!