“Don’t panic, it only happens once in a [Bloody Moon]”
A.k.a. Die Sage Des Todes (The Legend of Death)
Director: Jesus Franco / Writer: Rayo Casablanca / Cast: Olivia Pascal, Christoph Moosbrugger, Nadja Gerganoff, Jasmin Losensky, Corinna Gillwald, Ann-Beate Engelke, Peter Exacoustos, Maria Rubio, Alexander Waechter
Body Count: 8
Laughter Lines: “If we could just get rid of everyone around us… then things could go back to how they were.”
If Bloody Moon was intended to be the Scary Movie of its day, I might be able to see past the fact it has a 5.3 rating on IMDb, but it’s seemingly played straight, rendering it one of the more misogynistic and unarguably awful exports of the early days. I imagine its residency on the Video Nasties list of the 80s has probably afforded it some credibility it’s entirely unworthy of.
A German-Spanish co-production, things begin with a disco at a Spanish language school, where a facially-scarred man procures a Mickey Mouse mask and fools a girl into thinking he’s someone else and then, when sex clearly fails, he settles for stabbing the girl with scissors instead in a scene that really plays into the accusations of woman-hating rhetoric in the genre: She gargles orgasmically as goes at her over and over in a play on sex he’s incapable of performing.
Five years later, the man – Miguel – is released into the custody of his sister, Manuela, who runs the language school, much to the chagrin of her aunt/owner, the wheelchair bound hag, Countess Maria Gonzales. Bro and sis enjoy an incestual relationship they wish to keep quiet – see Laughter Lines.
No sooner does new student Angela rock up, the bouncy look-a-like girls of the school start getting murdered in graphically stupid ways. There’s little character development to show, they gossip about caretaker Antonio being the best lover on campus (there’s a second mentally deficient caretaker as well, of course). He asks Angela why she’s there and she replies she can speak fluent Spanish, and reels off a bunch of ‘my first Spanish lesson’ phrases like ‘Hasta Luego’, ‘Mañana’, and translations akin to: ‘Where can I buy potatoes on a Sunday?’
Also, if she’s fluent – WHY IS SHE EVEN THERE?
Angela is to room in the bungalow where the murder took place five years before. You know, the one where the perpetrator has been allowed back to live in the very same place? First to go is her friend Ava, who asks to borrow a sweater and then gets stabbed through the boob. Angela finds the body, screams, and of course by the time help comes, it’s gone, there’s no blood, and the murder mystery she’s reading is blamed for a nightmare. Her own clothes also change mid-scene from nightgown to floral print sweater.
When Ava doesn’t show for class, Angela worries, and in a pre-I Still Know What You Did Last Summer karaoke-machine moment, her language recording is interrupted with a message saying “I’m going to kill you and chop you up” etc. Of course, when teech comes over, no such voices.
Angela then goes down to the harbour to look for Ava and a falling rock nearly kills her. She flags down two motorcycle cops who direct her to the warning on the sign. Her reply: “What good does a sign do when I can’t understand it?” Strike two against her fluency declaration.
Back at school, other girl Inga pretends to be having sex but isn’t. The other girls laugh at her through the window and she’s all like “I’ll have the best sex ever – you’ll see!!” and in the next scene she’s going past Angela down at the harbour in a car with the killer!? He drives her to some crumbling old mill and she allows him to tie her to a slab, saying “Hey I normally wouldn’t do this, but OK, as it’s you…” and then: “I still don’t know what you look like, why don’t you take off your mask?”
I mean, fucking hell, COME ON? She willingly goes off with a non-speaking masked guy to an abandoned place in the middle of nowhere and allows him to tie her up.
Anyway, the slab thingy moves and a buzz-saw comes along, takes forever getting there, while some spying little kid tries to intervene and save her, the head comes off eventually and it’s anti-climactic and crap FX-wise. But then Franco throws in something a bit taboo: The fleeing child is cruelly run over by the killer.
Aaaaand back to the school again: Angela is convinced the killer is after her and barricades herself in her room and stabs a mannequin. Where the fuck did that come from, you ask? Like many goings-on here, it’s left unexplained. Laura says Angela reads too many scary books and offers to go get some drinks from the ‘Disco Club’ at the school (!??) but is killed with some garden-prong-thingy on her way back.
The killer attacks and Miguel tries to save the day, while Angela flees for help. The revelations that follow seem more at home in a soap opera than a horror film, but suffice to say, there’s more bloodletting, double-crossing, the obvious identity of the killer is revealed, and somebody utters this priceless line: “He came at me, you remember that! And just be damn sure to remember it.”
Bloody Moon is just stitched together failed scenes; a slasher film based on the most rudimentary understanding of the genre where girls are either naked or stupid and nothing more, shot on the cheap with little care going into a cohesive script and hardly any visual flair ether – look out for the zoom where a chair obscures the subject’s face. The dubbing is also one of the more comically bad efforts out there (“just let yourself melt into my arms!”), and the moon isn’t even shown, let alone bloody in any way.
Undistilled crap from start to finish.