Pete Walker

Even cult film aficionados (we meet at Taco Bell every Friday if you’re interested) could be excused for asking, “Who the hell is Pete Walker and why does he have his own collection?” The name doesn’t have the same buzz factor as Romero, Argento or even Ed Wood. But that’s part of what makes the horror genre so damn interesting: there’s always some cult clique that’s ripe for rediscovery and, potentially, a new addition to one’s collection. In the case of Pete Walker, a British director who worked the seedier side cinema during the ‘70s, this might be his first cordial introduction to North American audiences outside of a VHS box.

After giving Jean Rollin and Mario Bava their time in the sun, Kino’s Redemption label includes four films from the-lesser known Walker as part of their four-disc Blu-ray Pete Walker Collection. And things start strong with House of Whipcord (1974), a strange amalgamation of torture porn, gothic mystery and women’s prison film. Yet despite those exploitation buzz-words, there’s very little on-screen sex or violence in this story of a fashion model lured to a country estate that is actually a private prison dedicated to punishing those its twisted female warden deems morally deviant.

Although Walker has denied any social subtext in his films, it’s easy for critics to invent one for Whipcord, which plays up the divide between swinging London youth and the dangerously severe old guard. Rather than wallow in atrocities, the film judiciously plays up the mystery surrounding self-proclaimed warden, Mrs. Wakehurst (Barbara Markham) and the incestual relationship with her hipster son. One is never quite sure where Walker’s film is going to go next. And that’s exactly what makes it worth watching.

Schizo (1976) was obviously inspired by the black-gloved killers popular at the time in Italian giallos like Bird with the Crystal Plumage. Walker’s film makes more sense, but is less entertaining. Newlywed and professional ice skater Samantha is being stalked by her stepfather, recently released from a mental institution and obviously holding some sort of grudge. Meanwhile, anyone who digs into our heroine’s family history winds up dead. So the question is, who’s the real schizo here?

Despite all the red herrings, Schizo winds up being a pretty obvious thriller. But there are some good “kills” along the way, above average acting and, again, Walker’s ability to stretch out the mystery proves he was a director who knew how to make the most of his limited abilities and resources.

That’s not so much the case with the last two films in the collection. Die Screaming, Marianne is an undeniably great title. But it’s a terribly boring film. Even the presence of ‘70s sexpot Susan George (Straw Dogs) only raises the temperature a few degrees (that swinging ‘70s credits sequence where she dances in a bikini is quite honestly the highlight of the film). Thumbing it across Europe, Marianne (George) is on the run from her powerful father – known only as “The Judge” – and her wicked half-sister, both of who are after her inheritance.

Trouble is, it takes a long time to get to that Alfred Hitchcock Presents plot point. Walker tries to enhance the proceedings with double-dealings, phony marriages and romantic tragedy, but Marianne’s unstructured script makes for a long pointless trip with very little payoff.

The Comeback concerns a recently divorced soft-rock superstar who returns to England to record his first album in eight years. For inspiration, he holes up in another of those isolated country estates, this time run by two elderly caretakers. Odd noises, strange visions and a few close calls conspire to drive our hero to the edge of madness. Which is obviously someone’s intention…but who?

Walker’s film begins with a nasty Psycho-inspired murder, then keeps cutting back to the corpse at various points as it begins to rot in disgusting fashion. It’s an odd editorial choice for an odd movie. Star Jack Jones was actually a singer with several hit singles but is probably best known for crooning the Love Boat theme. He makes for a dull and frumpy leading man as you might expect. Even with it’s out-there ending, The Comeback winds up being a bit of a downer compared to the initial thrills the set delivered with House of Whipcord.

All four films have been remastered in HD and include a commentary by Walker (except for Schizo, which limits director’s input to an interview) along with original trailers.