This is the story of Buford Pusser's final days, not only of his life but also as Sheriff. It seems that times are changing and the people of Pusser's town, who once adored him are now ... See full summary »
Six parapsychologists investigate a reputed haunted mansion and are set upon by three flesh-eating succubus ladies under the control of the sinister warlock owner bent on finding a mysterious amulet to give himself more power.
Terry M. West
Clark Beasley Jr.
The sudden decapitation of Lord Harkin has the Kingdom, as well it should, in a state of fear. For it is well known to one and all of the citizens around and about that Norman, the evil Duke of Norwich (played by who cares) and his buddies, bimbos and cohorts over at---Drum Roll---The Torture Dungeon are responsible. Norman has plans to marry off his dimwit half-brother Albert of Aberthy to Heather McGregor of No Title, the most beautiful and sensual girl in the Kingdom. But first he has to arrange for the pitchforking of her current squeeze, William the Nobody. Heather has no idea of what she is getting into but, following the spectacular Royal Wedding followed by the erotic ceremony of the spectacular consumation of the Royal Marriage, she begins to suspect that all that is rotten does not lie entirely in Denmark, especially if Andy Milligan is around. Norman'S half sisters---this guy has no full siblings---Lady Agatha and Lady Jane, in a very good effort to warn Heather of Norman's... Written by
Les Adams <email@example.com>
Most of the extras and supporting parts were played by non-professional actors that Andy Milligan met on the streets around Staten Island and recruited them to appear unpaid and uncredited. The two players who played the parts of the court potentates, dubbed Peter the Ear and Peter the Nose, were two brothers who owned a local hardware store and were rumored to have had Mafia connections. See more »
Norman, Duke of Norwich:
I am not homosexual. I am neither heterosexual, or bisexual, not even asexual. I'm trisexual. Meaning, I'll try anything once.
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It almost seems inconceivable in this day and age that someone would attempt the pomp and pageantry of a ye Olde England costume gore epic on a budget LESS than a cross-town ferry ride. And yet Torture Dungeon, the first film for producer William Mishkin's newly crowned Constitution Films, is filmic proof that Andy Milligan's audacity knew no bounds. Cue credits, the music - straight from a 40s Gary Cooper western - swells, and a procession of medieval misfits make their way down a deserted Staten Island beach, looking for all the world like a lost borstal passion play, carrying the coffin of the newly-dead king, beheaded in the film's opening by the prissy yet evil Duke of Norwich (`Jerremy Brooks'/Gerry Jacuzzo). The Duke, last in line to the throne and sterile to boot, hatches a plan to marry off the new king, who would plant the royal seed in the Queen's fertile soil. Once plowed, the Queen becomes the unwilling property of the Duke, and the remaining heirs are dispatched to their untimely deaths.
Hal Borske plays the new king strictly for cheap laughs: he's a bumbling half-wit in a blonde pageboy frightwig who eats bugs on all fours and shows more interest in nailing his plate of chicken than his new queen. His on-screen presence is cut short soon after the `conception' scene, and he gets the obligatory stake to the heart. Blood erupts like tomato soup, exit Hal. And in every one of the death scenes from Torture Dungeon, Andy's camera careers around and plummets to the ground as if it was dropped from a Staten Island ferris wheel. There's even a script direction for this: `Swirl Camera'. Now stick that one in the text books.
Unlike The Ghastly Ones, where the gore comes thick and fast, Torture Dungeon spaces its bloodshed, which leaves wide open spaces in the script for Andy's manic exposition. One scene plays like a psychedelic sex hygiene film of the 50s and features a crazed old harridan (a member of Andy's theatrical troupe?) preparing the new queen for her wifely duties while floating around the room on PCP. The Sadean Duke endlessly waxes lyrical about his personal philosophy, declaring himself `not a heterosexual, not homosexual, not asexual - I'm trisexual. I'll TRY anything.' An old chestnut, I know, but from the mouths of Milligan's characters it takes on a new sinister tone. In another memorable scene the depraved duke is caught in bed with a hunchback, unloved and beaten as a child and corrupted by the uncaring world and now the Duke's assassin and willing love slave. So, he says to his wife with a perverse sneer - ever heard of a menage a trois?
With the exception of the garish costumes (an area Andy always excelled at), the production is threadbare at every turn. The torture chamber itself looks like my Brisbane city basement, for chrissakes, and the effect of the evil Duke swinging a chain sounds suspiciously like Andy on a microphone going `Whoosh! Whoosh!' Voices veer wildly from the fruity and over-theatrical Jacuzzo to the flat Noo York drawl from the mouths of some suitably plague-scarred bookies and old Mafia types in Beatles wigs, uttering lines like `the dook of Nor-witch' with deadpan conviction. Local color, but wrong locality. And I think I spotted a Ramone or two in the funeral procession.
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