Text © Richard Gary / Indie Horror Films,
2017
Images from the Internet
Effects
Directed by Dusty Nelson
AGFA / Something Weird Video
/ Bududa Inc. / MVD Visual
84
minutes, 1980 / 2005 / 2017
https://www.americangenrefilm.com
So-called
snuff films became a focus in American culture during the late 1970s and early
‘80s, in large part, for two reasons. The first was due to some pretty bad
films such as Snuff (1975), which
supposedly had a real snuff scene at the end (any seasoned SFX fan could see
that it was fake), and the Faces of Death
series (which was also bogus when concerning humans). The other was the
rising video boom that was desperately in need for film fodder for fans, and
would take anything they could find and put it out there in the exploding video
store market. Snuff, a film that
probably would have easily passed into the mire of bad cinema along with the Face of Death, found new life and became
shocking sensations that made national news.
This
led to a series of “realistic” releases trying to ride the wave. Hell, no one
would have probably even heard the word “snuff” if it weren’t for those
reasons. But it did lead us to Dusty Nelson’s film, Effects. Thanks to a revival of the VHS craze from that period,
which has now passed into the nostalgia phase, companies like American Genre
Film Archive (AGFA) are putting out hi-def, Blu-ray versions of these very same
films. In this case, thanks to distribution and legal issues, this film was not
actually released until 2005 on DVD, and now this Blu-ray from a rare print
(more on the quality later). Thing is, as bad as some of these releases are,
I’m glad they are given new – err – life.
Joseph Pilato, Tom Savini |
Essentially,
in a convoluted way, the film plays with the notions of what is real, what is
pretend, and what happens when they mix in the world of film (although there
are some moments that seem like it’s television). This is what is facing the dating
couple of special effects expert/cameraman Dom (Joseph Pilato) and actress
Celeste (Susan Chapek); they – and others – are caught in a web of confusion,
like the audience. How will this effect the director, Lacey (John Harrison), fellow
actors Barney (Bernard McKenna), Rita (Debra Gordon) and Nicky (SFX wizard Tom
Savini in one of his early acting roles)? The big question, however, appears to
be how far would/should/could one go to make a film?
Though
I’m certain they were just trying to keep current, it’s interesting to me how
many then-current cultural signifiers they use throughout the film, such as
someone playing the electronic game Simon, or all the drug references (e.g.,
lines of coke and Maryjane). Then there’s the clothing, such as the common
place jeans-and-tees (with images like The
Rocky Horror Picture Show logo from 1977). There are other small
touchstones, similar to a take-off of the Bill Saluga classic, “You doesn’thave to call me Johnson” bit. There
are more references in here than in a Family
Guy episode. Heck, there’s even a bit of a soliloquy from Shakespeare’s Richard II.
Susan Chapek |
Speaking
of the “looks of then,” it’s amazing
how the look and pacing of the film is like porn films of the period. Yeah,
there’s a couple of (female) nudie scenes, such as the then-obligatory and
totally unnecessary-to-the-story shower scene that opens up the pic, but
nothing that would really qualify as even softcore. And yet, the feel of the film, the pacing, acting and
ambiance screams late ‘70s adult cinema.
That
being said, much of the cast and crew are part of the Pittsburgh area film
group, which included George A. Romero (RIP). Many of the cast and crew were in
front or behind (or both) the camera on numerous Romero releases. In fact, one
of the lead actors, Pilato, would play a pivotal role (and have an iconic
scene) in Day of the Dead (1985).
Filmed
in a pre-MTV period, by the standards of even a couple of years later, the
camera is quite static, with long shots and dialogue that keeps the story at a
steady pace, as we get to know, although not necessarily like (which is the
point), most of the main characters. The camera pretty much sits there, or just
lazily cuts from character to character.
Debra Gordon (Bernard McKenna in mirror) |
Along
with the languid pace until the last 15 minutes, even though there are some decent
moments of tension throughout, the film bleeds out rather than spurts. I wish
the story was a bit clearer as it was happening, but even with all the
character build-up, there isn’t much to connect to with hardly anyone. This is
not helped by the very grainy visuals (shot in 16mm) and spotty sound, but I’m
glad to have had a chance to see this almost-lost piece of cinema history from
a very specific period of time.
The
first extra is the 59-minutes documentary After
Effects: Memories of Pittsburgh Filmmaking (2005; Red Shirt Pictures),
directed by Michael Felsher, in which Felsher interviews the cast and crew 27
years later in Los Angeles. The arc is how the director and his team first got
into making indie films (then called guerilla filmmaking) including and
documentaries and commercials, and grew into raising the funds and gathering
all the threads with enough cojones
to make Effects. Also featured and interviewed
is the late, great Romero (d. 2017). There are also some cleaned-up clips both
visually and audibly from the film that I wish had been the whole film proper. Honestly, I wasn’t
looking forward to the prospect of watching this long featurette because I
thought I was going to be bored by it for the hour, but it’s actually quite
well done and kept my interest throughout. There is an additional After Effects full-length commentary
with the director. Much of the talking is about the distribution deal that
squashed the original film, and how it eventually came out. It’s also the link
between Effects and After Effects. Not overly exciting
stuff, honestly, but somewhat interesting in its historical perspective. To be
truthful, I made it through about the first 20 minutes.
Next
up are two rare shorts. The first is the 12-minute Ubu (1973), an experimental picture directed by John Harrison, who
plays the director in Effects. He actually
has a few really nice credits under his belt, including the 2000 mini-series version
of Dune. Here, we meet the titular Ubu,
who is the tyrant of a Dark Ages version of Poland (or, as the marionette narrator
states, “that is to say, nowhere”). It’s definitely a piece for its time, in a
period of paranoia about the Nixon Administration. This is followed by Dusty
Nelson’s 15-minute Beastie. Chris
(Paula Swart) is hitchhiking and gets picked up by George (Steve Pearson). They
instantly start a relationship, and we follow it until… well, I’ll not give it
away. It’s also a story of its generation, which seems to be just-post-hippie.
Last
up is the 2005 full-length commentary with Nelson, Harrison and Pasquale Buba,
who all make up the production company, Bududa Inc. It’s a quite decent
combination of technical matters, anecdotes and intentions. They work really
well together, and it shows in the way they respectfully let each other finish
their own bits, such as positing what the film is actually about: “…What’s real
and what’s not, and if you don’t know the difference, does it matter?” Even
though it’s hard to tell who is telling what story, it really isn’t important
because it’s the content of the tale that matters. It was interesting
throughout.
In
some ways Effects reminds me of Maniac (also 1980, and name checked in
one form or another in the documentary sides, which is not surprising
considering Savini also worked on that one), which also had an appearance and –
err – effects by Savini. I would recommend any fan of the VHS or Pittsburgh
film school to see Effects, because
it is an important piece of work, even with its occasional wonkiness.
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