Manos: The Hands of Fate (1966)

A family gets lost on the road and stumbles upon a hidden, underground, devil-worshiping cult led by the fearsome Master and his servant Torgo.

Director:

Harold P. Warren

Writer:

Harold P. Warren (screenplay)

Stars:

Tom Neyman, John Reynolds, Diane Adelson

Bottom Rated Movies #2 | See the Bottom Rated Movies as rated by our users.

Cast

Cast overview, first billed only:
Tom Neyman	...	The Master
John Reynolds	...	Torgo
Diane Adelson	...	Margaret (as Diane Mahree)
Harold P. Warren	...	Michael (as Hal Warren)
Stephanie Nielson	...	Master's Wife
Sherry Proctor	...	Master's Wife
Robin Redd	...	Master's Wife
Jackey Neyman Jones	...	Debbie (as Jackey Neyman)
Bernie Rosenblum	...	Teenager in Car
Joyce Molleur	...	Teenager in Car
William Bryan Jennings	...	Cop
Jay Hall	...	Girl in Convertible
Bettye Birns	...	Master's Wife
Lelanie Hansard	...	Girl in Convertible
Pat Coburn	...	Master's Wife

Storyline

A family's driving across the country where they stumble across a mysterious house, inhabited by the satyr-man Torgo. When the family decide to stay over at the house, the family's mother is now the object of desire for Torgo and the owner of the house, The Master: a mysterious figure whom dresses in a black robe, decorated with red hands.

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Plot Keywords:

catfight | driving | dog | gun | luggage | 

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Taglines:

A cult of weird, horrible people who gather beautiful women only to deface them with a burning hand!

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Genres:

Horror

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Certificate:

Not Rated

Details

Country:

USA

Language:

English

Release Date:

15 November 1966 (USA)

Also Known As:

The Lodge of Sins

Filming Locations:

Texas, USA

Box Office

Budget:

$19,000 (estimated)

Company Credits

Production Co:

Norm-Iris, Sun City Films

Technical Specs

Runtime:

70 min

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Aspect Ratio:

1.30 : 1

Did You Know?

Trivia

The modelling agency that provided the women who played the Master's wives refused to let them be "too skimpy". Their red sashes were supposed to be tails, which the agency also objected to.

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Goofs

Moths are attracted to the camera in night scenes. A big one flies by in the right side of the frame when Mike runs out to find Peppy, the family's dog.

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Quotes

[first lines]
Margaret: We're almost there, honey. Just a little while longer and your vacation starts.
Debbie: I'm getting cold, mother, and hungry!

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Crazy Credits

The End?

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Alternate Versions

The DVD version is a few seconds shorter than the original. For example, the film once started with the car (with mom, dad and Debbie) pulling up and stopping BEFORE the dialog starts. There is also a little music that was cut out. The full opening can be seen in the Mystery Science Theater 3000 version of the film.

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Connections

Edited into Manos: The Fans of Hate (2009)

User Reviews

'Manos': An Enigma of Celluloid

When I watch a film for the first time it is generally quite easy for me to establish an initial opinion of the film at hand. At times I will come to this very website and submit a rating of the given film or perhaps I will turn to a friend and give my thoughts of the film (which tend to be quite clear). Well, after reading quite a few extremely hyped reviews and discussions throughout the internet, I decided to try my luck and buy the alleged worst film of all time: ''Manos': The Hands of Fate'. Let it be clear that this review does not pertain to the Mystery Science Theater 3000 version of the film; rather it applies to Hal P. Warren's original, cut-and-dry, El Paso-born version of the film. ''Manos': The Hands of Fate' may very well be, one of the only films of which classification is painstakingly difficult to near-impossible. The film leaves a quaint, surreal, and indecisive effect upon the viewer which is what leads to the formulation of this strange conclusion.

Warren's film opens on a vacationing family traveling through El Paso, Texas. The family consists of little Debbie (Jackey Neyman), Margaret (Diane Mahree), and Mike (played by our very own Hal P. Warren). Surely enough, the travelers are soon found lost on the way to their vacation site. They eventually turn onto a long dirt road marked by a sign promising a "Valley Lodge". After a great deal of aimless meandering throughout the backwoods of El Paso, the vacationers come across a mysterious Lodge run by an awkward and deformed Satyr named Torgo (John Reynolds). Seeing as it is getting late, the visitors ask about staying the night only to be deterred by Torgo's ominous words "The master would not approve." After some pressure from the family, Torgo folds and allows the newcomers to stay. As the visitors enter the lodge they are welcomed by a mantel full of strange hand-like pagan icons and sculptures, accompanied by a strange portrait of presumably The Master and his hound. As Michael and his wife Margaret observe the strangeness of the portrait and their surroundings, a strange howl is heard from outside in the desert. Soon strange happenings begin around this lodge of sins, as Michael and his family's fate is determined by "the hands of fate"

To be blunt, the film is simply quite technically limited. Supposedly the film was shot entirely on one camera which was only capable of shooting 60 seconds of film at a time. To say that this hurt the film would be an untrue, if anything it helped the pacing of this little low-budget flick. Hal P. Warren was a director with literally no experience or conceived directorial abilities; he had no knowledge of pacing or camera work (if he had any it was most likely limited to home videos). The acting for the most part is quite dismal, the only exception being a wonderful character conceived by Warren named Torgo. Reynolds' portrayal of Torgo is supreme; although having no professional training or profession acting experience in cinema he creates a one of-a-kind character, which has been quite unparalleled in cult-cinema. No matter how much one hates this film, they will always remember the timid and tormented Torgo, uttering his infamous line: "The Master would not approve." The music featured in the film is quite repetitive and amateur, although at times it does add to the feel, aid the pacing, and promote the overall camp-factor of the film (which was sometimes delightful). The cinematography is certainly not note-worthy, nor is the lighting. The editing seemed to have been done with haste and is one of the key factors which seems to have earned this film its reputation. One thing however, which is not widely criticized by viewers is the plot. It is a plot with great potential that was realized by Warren; at the time it would have been quite fresh. Interestingly enough, it could vaguely be seen as a blundering, early version of 'The Texas Chain Saw Massacre' (not to say that Tobe Hooper drew any influence from ''Manos': The Hands of Fate').

Well, this is widely considered to be the downright worst of the worst – the bottom of the bottom. As stated earlier, I cannot place this film on a scale of one to ten, yet I can argue that this is a false statement. Almost every aspect of the film is done poorly, yet as odd as it sounds, the movie generates a charming and enjoyable little atmosphere; it simply does not feel like the worst one out there. There are plenty of films which are far less enjoyable to watch than Manos. Technically speaking the assumption can be made that it is the worst, but then again there are films with far more dismal lighting, far more sloppy camera work and far worse pacing. One could contend that the acting is downright dismal and corpse-like in every respect, yet there are films with worse acting and absolutely no memorable or quotable (Torgo - whether it be mocking or homage) characters. Hence, in many respects Hal Warren's single 1966 production isn't the worst piece of celluloid out there, yet at the same time it possess many, if not all of the qualities which could be attributed to the worst film of all time. However, the goal of this review was not to debunk the position in cinema history ''Manos': The Hands of Fate' has achieved, but rather to offer a little insight into what this film has to offer. In all fairness, I enjoyed it in a wonderful, campy, and surreal sort of way... after all, what other film is out there like this? What film is there that was made on possibly the lowest budget of all time, featuring the work of the most cinematically inept individuals, yet despite these obvious flaws has kept people talking about it for years to come?