Robert Chipman
Welcome to my column dedicated to the appreciation of physical media supplements called: Feature Presentations. The goal of this column is not to say whether a film is good or bad and worth picking up or not—I would like to highlight the discs that go the extra mile and provide film fans with enough tasty tidbits to satisfy even the hungriest of cinephiles. With all that out of the way, today’s article will focus on Vinegar Syndrome‘s release of Shriek of the Mutilated.
There have been multiple columns of Feature Presentations where I’ve mentioned that I am a Vinegar Syndrome subscriber. As with any subscription, you get a mix of good and not-so-good. It would be unreasonable to assume every film of my subscription would be a winner. My hope has always been if it’s not going to be a good film, at least be entertaining. And this leads me to this week’s movie: Shriek of the Mutilated.
I’ve never been someone steeped in the Bigfoot/Yeti lore. It’s not a topic that interests me, nor a film topic that gets my blood pumping. Seeing that Shriek of the Mutilated was part of this month’s subscription package, I was trepidatious at best. I popped the disc into my player, hit start, and hoped for the best.
While not the dreary slog I expected, it wasn’t that great of a film either. Shriek of the Mutilated plays out like most low-rent, Z-grade horror films of the ’70s and ’80s: a group of people head out into the woods and get picked off one by one. We only get faint, quick glimpses of the Yeti (thankfully) as our protagonists wander aimlessly throughout the forest. The one area where Shriek of the Mutilated separates itself from the pack comes in the third act. While I won’t spoil why the third act is different, I applaud the filmmakers for trying something different, even though anyone whose seen more than three movies can easily spot where the creators are going within the first 15 minutes.
Getting into the features, Vinegar Syndrome includes a sturdy cardboard slipcover with newly-commissioned artwork. Inside, the disc case comes with reversible art—one with the slipcover design and the other with the original theatrical art. I’ve mentioned before if I have a slipcover, I flip the reversible wrap to showcase the film’s print, that way, I get the best of both worlds.
The disc features an interview with cinematographer Roberta Findlay, “Yeti Again,” wife of Michael Findlay, director of Shriek of the Mutilated. Findlay spends this ten-plus minute interview talking about what she can remember from the film’s shoot, her beginnings, and thoughts on low-budget horror exploitation films. Findlay’s comments about her thoughts on low-budget horror struck me the most and what I found fascinating from this chat. While she doesn’t recall much about the film’s production, there are still tidbits here and there for those seeking more about Shriek of the Mutilated.
“So Bad So Great” is an interview with producer and co-writer Ed Adlum. “So Bad So Great” is the kind of interview that speaks to me. Adlum talks about how he came into the business of writing and producing films including: Shriek of the Mutilated and Invasion of the Blood Farmers while giving anecdotes throughout his career. He has a lively personality recounting the ups and downs of working in low-budget filmmaking. Adlum’s charming persona shines through the interview as he recalls his daughter relaying that he’s responsible for the worst film ever, his Steven Spielberg resentment and honesty about working in the film industry. I adored Edward Adlum and his tales during this interview.
“The Wilds of Westchester” is a featurette discussing the locations for Shriek of the Mutilated and Invasion of the Blood Farmers with Michael Gingold. Features like this usually do not provide much behind-the-scenes information, but they are interesting to see how the landscape has changed over the years. There’s nothing essential to see, but it’s a good one-time watch.
Vinegar Syndrome also included an audio essay by cryptozoology author David Coleman. Coleman proves himself knowledgeable as he engages in a deep dive, not just on Shriek of the Mutilated but on director Michael Findlay. While the featurette plays over a still image of the title card, Coleman’s words detailing the production history make this feel like a second commentary track. There are plenty of nuggets of information to be had—worth a listen for fans of Shriek of the Mutilated, low-budget film productions, or those looking for film analysis.
And speaking of commentary tracks, there’s a feature-length commentary with Roberta Findlay, moderated by Casey Scott with Vinegar Syndrome. Findlay and Scott banter back and forth as they talk about the production of Shriek of the Mutilated and other aspects of Findlay’s life. As I mentioned regarding “Yeti Again,” Findlay doesn’t recall much about the film’s production, so having Scott as a moderator helps make this commentary worth listening. Scott attempt to jog Findlay’s memory of the shoot to marginal effect as the discussion veers into other topics. Findlay’s comments come more to life when discussing Michael Findlay and other aspects of the film outside of Shriek of the Mutilated.
And there you have it! While Shriek of the Mutilated isn’t for me, I understand the appeal to those who enjoy schlocky productions. One might be surprised a film like this would find its way onto Blu-ray, but that’s Vinegar Syndrome’s specialty. And with a disc loaded with bonus features, if you’re a fan of Shriek of the Mutilated or low-budget grindhouse fare, there isn’t, and probably will never be, a better release out there!
