Oldie-But-Goody-Review, Part 1: The House on Sorority Row

Text © Richard Gary / Indie Horror Films, 2021
Images from the Internet

The House on Sorority Row
Directed by Mark Rosman
VAE Productions; Scorpion Releasing; Multicom Entertainment;
Trafalgar Releasing; Bloody Disgusting; MVD Rewind Collection
91 minutes, 1983 / 2021
www.MVDVisual.com

I am going to start off with a digression: I find it amusing that in modern films, most of the flashback prologues tend to be set in the 1980s (often in honor to VHS releases like this one), but here, in a film from the ‘80s, it is 1961.

In the present and main section of the story, good girl Katie (Kathryn McNeil) has just graduated college and decides to stick around the campus with a gaggle of her friends to par-tay. It is pretty obvious that this was a bad decision on their parts (well, it is a genre film – from the 1980s – after all). Note that in an early scene, one of them, Diane (Harley Jane Kozak, looking a bit like Jamie Lee Curtis) wears a CBGB tee-shirt! In 1983! RIP CBs, a second home for me.

Kathryn McNeil

The house mother, Mrs. Slater (Lois Kelso Hunt, d. 2018) – who we meet in the prologue (yes, that’s how long she’s been heading the oddly named ПФ – Pi Phi – sorority) – is displeased by the girls not leaving and puts her foot down about closing the house, to which the girls (I think I’m old enough to call them girls) rebel, leading to unexpected circumstances that sets up the slaughter to come.

There are lots of what would now be considered cliches, but part of the fun is knowing that films like these were the originators of those common motifs, even with a number of relatively effective jump scares. And much like the music that was coming out of CBGB then (and especially previously), it was before there was a “uniform” and anything went. This gives more of an imaginative tone to the story and nuanced action.

This was also director Mark Rosman’s first feature (he was in his 20s), so he went all out blowing through his budget, giving him some freedom for a crane shot (was Johnny LaRue jealous?), for example, and some amazing SFX (practical rather than digital). There are also a few stand-out theatrical moments for its time, such as single shot at the party where the camera, one-by-one, finds the main actors. There is also an interesting, drug-induced dream sequence that is quite imaginative and totally entertaining. I also find it curious that after this film, Rosman essentially stayed away from horror, and instead directed things like “Lizzie McGuire” and the “William and Kate” (2011) television film. He did, however, direct a ramped-up remake of sorts, “Sorority Row” (2009).

Lois Kelso Hunt

The central theme and set-up feel like it was adapted as an urban version of Friday the 13th (1980) or perhaps even Friday the 13th Part 2 (1981), both which came out just a couple of years before. Instead of a machete, however, the sharp ends of a cane work equally well. Dr. Beck (Christopher Lawrence) does well in what is essentially the Dr. Loomis role.

During the party sequence, there is a performance by the Washington DC-based Power Pop band 4 Out of 5 Doctors, who look a bit like the glam of The Sweet, and sound influenced by The Quick’s Mondo Deco. They were actually quite popular and influential in their own way. The film was shot near Delaware, using some of John Waters’ crew.

CBGB shirt

 As for the extras, there are two audio commentaries, the first being a good one by the director, Rosman, questioned by profession wrestler Katarina Waters, and the other with the director again, and the stars Kathryn McNeil and Eileen Davidson (who reminds me of Emily Blunt), whose bad girl with great hair character Vickie sets off the whole bloody affair. Rosman’s comments in all his portions are quite similar, but it was good to have the other two actors added for extra perspectives and anecdotes, even if no one mentions the CB’s shirt. The second commentary was recorded around 2009, around the time of the DVD release. There are also individual interviews with Rosman (21 min), McNeil (14 min), Davidson, (7 min) and Kozak (42 min, as it discusses her entire career), and composers Richard Band (45 min; brother of Charles Band, and scored a lot of Full Moon’s releases, which he also examines) and Igo Kantor (10 min, his work is legendary, including for “The Monkees”; d. 2019). Some are interviewed by Waters in a podcast-style titled “Kats Eyes.”

Other extras include English subtitles (so good to follow the film when listening to the commentaries), Storyboards including for the original unused ending, the original black and white opening (that was later monochromed blue before release), a collection of trailers (including for this film), reversible artwork with an alternative cover, and a really nice mini-poster of the film tucked into the clamshell.

One of the noteworthy rarities about this film is that as much as there is definite T&A, nudity, and a sex scene, it focuses more on the sisterhood of our group than, say, them being man-hungry shells. There may not be much exposition on the central characters, but they certainly have different temperaments, and they tend to get along and band together, even as they are picked off one-by-one. The females look close to the ages of their roles, but the men – especially those at the party – look much older, closer to 30 than early 20s (especially the guy who is worried about his grades).

While some of the actions are predictable, especially for the die-hard slasher fan, there are also lots of red herrings and surprises as well. There is a really sizeable body count and the kills are a bit bloody, but there are some nice effects. I enjoyed the way the film was shot, most of the acting is in that ‘80s style of over emoting (note that at least three of the women went on to successful careers, especially in soaps), and the editing and direction is of note. There is a reason this is considered a classic, and rightfully so.

Now, about that gross pool…