Bubba Ho-Tep

THE FLICK: It’s impossible to manufacture a cult movie. It just goes against the definition of the word. Films like “Rocky Horror” and the “Evil Dead” trilogy were ultimately successful because of a genuine passion that came through onscreen; not some pre-fab notion that audiences would embrace anything intentionally bizarre or left-of-center. But if ever a film came close to gauging the sort of cult reaction it would inspire upon release, it’s “Bubba Ho-Tep.” Director Don Coscarelli (“Phantasm”) and star Bruce Campbell (“Evil Dead’) are no strangers to rabid horror fans to begin with, but working with a story that combines an aging Elvis Presley, a black JFK and an 4000 year-old soul sucking mummy from East Texas all but guaranteed some curiosity seekers. What they might not have expected is a sweetly sentimental heart beating deep underneath all the horror-comedy hijinks. Lifted from a novella by Joe R. Lansdale, the set-up finds Elvis hiding in a run-down nursing home, his fame nothing but a vague memory and his body racked with disease (“little” Elvis even sports a perpetually pus-filled growth that’s almost a sub-plot unto itself). When one of the other residents, who claims to be JFK dyed black from head to toe, suspects a mummy is feeding off the souls in the home to survive, he and the King team up to put a stop to the Egyptian menace. As it’s described “Bubba Ho-Tep” sounds much more outrageous than it actually is. In fact, Campbell’s performance as a forgotten Elvis, now old and useless, serves to reinforce the film’s rather serious message of our culture’s view of the elderly. Coscarelli, a genre director who almost always relies on visual flourishes to drive the story, wisely lets Lansdale’s writing do much of the work. The flying bugs, soul-sucking mummy and high-body count are just set decorations. “Bubba Ho-Tep” is really about the final stand of two men, not against the inevitability of death, but of dying with dignity. THE FEATURES: As befitting a flick on the cusp of cult stardom, MGM has supplied a special edition better than some big-budget fare. Two commentaries grace the disc, one with Coscarelli and Campbell and another featuring “The King,”(a.k.a. Bruce Campbell in character). Coscarelli always delivers a hefty amount of information in a quick, breezy manner. He’s nice to listen to and never gets lost in pointless meandering. The gag track with Elvis is a good idea, but Campbell (while a naturally amusing speaker) is no stand-up comedian and struggles to keep the concept funny. Fans will appreciate the effort, though. Joe R. Lansdale reads from Bubba Ho-Tep is a feature you might have seen on other DVDs before. But it was never so appropriate as it is here, giving Lansdale a chance to read directly from the text of his award-winning story. It’s coarse, vulgar and colorfully brilliant! And it’s obvious Coscarelli kept as much of it as he could. The two deleted scenes aren’t much to get excited over. Coscarelli explains the first (Elvis practicing his stage moves in the hallway) was cut because of an unsuccessful experiment with Lansdale’s third-person voice-over. Footage from the Temple Room Floor offers a more substantial view of Bubba’s quick-cut Egyptian backstory. The bulk of the extras come in the form of a “Making Of” feature broken into four segments. “Making of Bubba Ho-Tep” is the most inclusive, jumping from the usual interviews and backstory of the film – from studio disinterest to eventual festival success. “To Make A Mummy” talks to the folks at KNB effects who essentially built a monster suit for cost as a personal favor to Coscarelli. In “Fit for a King,” we see Campbell slipping into the “old Elvis” fat suit and sequined jumper (purchased at an exclusive Elvis-wear clothes store). “Rock like an Egyptian” is a showcase for composer Brian Tyler who performed every instrument on the soundtrack himself to save costs. A Photo Gallery, Theatrical Trailer and TV Spot close up the special edition sarcophagus. FINAL SCORE: Flying under the radar, “Bubba Ho-Tep” is a true original. The horror elements are often its weakest (these cut-rate effects really look like cut-rate effects) and Coscarelli too often takes the easy way out by going for a standard scare. But the off-the-wall ideas, nostalgic tone and literate script are standouts in any genre.