| Kenny Everett | ... | Dr. Lukas Mandeville | |
| Pamela Stephenson | ... | Dr. Barbara Coyle | |
| Vincent Price | ... | Sinister Man | |
| Gareth Hunt | ... | Elliot Broome | |
| Don Warrington | ... | Stephen Wilson | |
| John Fortune | ... | John Harrison | |
| Sheila Steafel | ... | Sheila Finch | |
| John Stephen Hill | ... | Henry Noland | |
| Cleo Rocos | ... | Deborah Kedding | |
| Graham Stark | ... | The Blind Man | |
| Pat Ashton | ... | Barmaid | |
| David Lodge | ... | Inspector Goule | |
| Davilia David | ... | Sheila's Mother | |
| Debbie Linden | ... | Attractive girl | |
| Tim Barrett | ... | Doctor | |
| Oscar Quitak | ... | Doctor | |
| Ellis Dale | ... | Patient | |
| Barry Cryer | ... | Police Inspector | |
| Anna Dawson | ... | Nurse | |
| Gordon Rollings | ... | Man at Bar | |
| Jack Le White | ... | Old Man | |
| Ray Cameron | ... | Policeman | |
| rest of cast listed alphabetically: | |||
| Derek Lyons | ... | Policeman | |
| Michael McIntyre | ... | ET (voice) (uncredited) | |
Directed by | |||
| Ray Cameron | |||
Writing credits(in alphabetical order) | ||
| Ray Cameron | ||
| Barry Cryer | ||
Produced by | |||
| Ray Cameron | .... | producer | |
| Stuart D. Donaldson | .... | executive producer | |
| John Downes | .... | producer | |
| Laurence Myers | .... | executive producer | |
Original Music by | |||
| Mark London | |||
| Mike Moran | |||
Cinematography by | |||
| Dusty Miller | |||
| Brian West | |||
Film Editing by | |||
| Brian Tagg | |||
Casting by | |||
| Sue Whatmough | |||
Art Direction by | |||
| John Sunderland | |||
Makeup Department | |||
| Eric Allwright | .... | makeup artist | |
| Elaine Bowerbank | .... | hair stylist | |
Second Unit Director or Assistant Director | |||
| Ken Baker | .... | assistant director | |
| Peter Bennett | .... | second assistant director (as Peter Bennet Snr) | |
| Paul Taylor | .... | third assistant director | |
Art Department | |||
| Heather Armitage | .... | assistant art director | |
| Barry Arnold | .... | stand-by props | |
| Don Bradburn | .... | dressing props | |
| Matthew Camacho | .... | painter (as Matt Camacho) | |
| Stephen Challenor | .... | carpenter | |
| Bob Cross | .... | construction manager | |
| Michael Davis | .... | carpenter | |
| Dennis Fruin | .... | property master | |
| Bill Keenan | .... | storyboard artist | |
| Katie Kilroy | .... | production buyer | |
| Ted Lynch | .... | painter | |
Sound Department | |||
| David Crozier | .... | sound mixer | |
| Chris Munro | .... | sound mixer | |
| Ian Munro | .... | boom operator | |
| Andy Nelson | .... | dubbing | |
| John Stevenson | .... | boom operator | |
| Marcus Thompson | .... | dubbing | |
Visual Effects by | |||
| Hugh Gordon | .... | optical effects | |
Camera and Electrical Department | |||
| George Boner | .... | gaffer | |
| Terry Cole | .... | camera operator: second unit | |
| David Farrell | .... | still photographer | |
| Ron Holmwood | .... | electrician | |
| Norman G. Langley | .... | camera operator: second unit (as Norman Langley) | |
| John Maskall | .... | camera operator | |
| Nick Pearson | .... | grip | |
| John Rogers | .... | best boy | |
| Andrew Shields | .... | video playback operator (as Andy Shields) | |
| Bob Stilwell | .... | clapper loader | |
| Bob Stilwell | .... | focus puller | |
| Peter Turner | .... | clapper loader | |
Animation Department | |||
| Graham Garside | .... | animator | |
Costume and Wardrobe Department | |||
| Jill Dods | .... | assistant wardrobe | |
| Paul Vachon | .... | wardrobe | |
Editorial Department | |||
| David M. Bosley | .... | second editor | |
| Judy Summers | .... | assistant editor | |
Transportation Department | |||
| Peter Glazier | .... | unit driver | |
| Laurie Rose | .... | unit transport manager | |
| Roy Weallans | .... | driver: camera car | |
Other crew | |||
| Peter Chambers | .... | unit runner | |
| Tony Cryer | .... | unit runner | |
| Jo Hallam | .... | assistant accountant | |
| John Ignatius | .... | follow focus | |
| Cheryl Lea | .... | continuity | |
| Cheryl Leigh | .... | continuity | |
| Lynda Levy | .... | publicist | |
| Sue Mawson | .... | unit nurse | |
| Ray Tranter | .... | production accountant | |
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| Ali G Indahouse | Class of Nuke 'Em High | The Gift | Pac-Man: The Movie | The Legend of Hell House |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Horror section | IMDb UK section |
A group of psychics and ghosthunters return to remote Headstone Manor on the anniversary of a ritualistic mass murder by mysterious monks.
I'm pleased to see only good comments registered on Bloodbath At The House Of Death, because it's one of my favourites. Favoured not for it's technical merit, but for the absolute dedication to Kenny's unique style of comedy - where no joke was either too obvious or too tasteless to be included.
Some of these jokes are supremely tasteless, for example the young woman who offers her bared breasts to the mad monk as he threatens her with a knife: "You want these, don't you?" and then she screams "Oh my god, did you say "To take away?!".
Vincent Price has a very good time as the very Sinister Man.
I was lucky to see this on the big screen here in Australia and I also considered myself lucky to have bought an ex-rental VHS years ago. However there are quite a few dark scenes which VHS tape simply cannot reproduce with adequate definition.
2011 update: In July 2008 a DVD was officially release in the UK and I am very impressed. The video and audio quality are first class (the video transferred from the original negative).
Now we get to enjoy Bloodbath in its original theatrical aspect 1.85:1 - with none of the limitations mentioned for the VHS version. The extra features are valuable - including a pdf file of the script, the UK and USA trailers, and a wonderful, highly informative 22 minute retrospective documentary. I loved seeing snippets of Kenny in Australia promoting the film - and enjoyed learning the background story of how this magnificent purposefully B grade film sadly missed getting the exposure and wide success which it truly deserved.
Twenty five years after the limited cinematic release the world has a second chance to embrace "Bloodbath At The House Of Death" as one of the all-time great kitsch cult classics.