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Welcome to Arrow Beach (1974)

R | | Horror | May 1974 (USA)
A hippie girl wandering on a California beach is taken in by a Korean War veteran who lives in a nearby mansion with his sister. The girl soon begins to suspect that the mansion is home to ... See full summary »

Director:

Laurence Harvey

Writers:

Wallace C. Bennett (screenplay), Jack Gross Jr. (adaptation) | 1 more credit »
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Cast

Cast overview, first billed only:
Laurence Harvey ... Jason Henry
Joanna Pettet ... Grace Henry
Stuart Whitman ... Deputy Rakes
John Ireland ... Sheriff Duke Bingham
Meg Foster ... Robbin Stanley
Gloria LeRoy Gloria LeRoy ... Ginger
David Macklin ... Alex Heath
Dodie Heath Dodie Heath ... Felice
Altovise Davis Altovise Davis ... Deputy Molly (as Altovise Gore)
Elizabeth St. Clair Elizabeth St. Clair ... Head Nurse
Robert Lussier Robert Lussier ... Deputy Lippencourt
Jesse Vint ... Hot Rod Driver
Tony Ballen ... Pharmacist
John Hart ... Doctor
Andy Romano ... Bryant
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Storyline

A hippie girl wandering on a California beach is taken in by a Korean War veteran who lives in a nearby mansion with his sister. The girl soon begins to suspect that the mansion is home to some very strange goings-on. Written by Anonymous

Plot Summary | Plot Synopsis

Taglines:

There is a witch's tale that once a man has eaten human flesh, he will do it again. And again. And again. See more »

Genres:

Horror

Certificate:

R | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

May 1974 (USA) See more »

Also Known As:

Tender Flesh See more »

Filming Locations:

Los Angeles, California, USA

Company Credits

Production Co:

Brut Productions See more »
Show more on IMDbPro »

Technical Specs

Runtime:

| (video)

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Magnetic Video's edition is the second horror film ever released in the VHS format. Blood of the Vampire (1958), on the same label, was available a few months earlier. See more »

Quotes

Alex Heath: The places that a woman could inject herself with a syringe defy the imagination!
See more »

Alternate Versions

Dutch version contains 15 minutes of footage missing from the American release. Never released uncut in the U.S. See more »

Connections

Referenced in The Cinema Snob: The Town That Dreaded Sundown (2018) See more »

Soundtracks

Who Can Tell Us Why
Music by Bert Keyes and George Barrie
Lyrics by Sammy Cahn
Performed by Lou Rawls
See more »

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User Reviews

 
Mixed feelings: loved the style, hated the editing. See the full version if you can.
4 April 2005 | by aodugoSee all my reviews

Looking over other viewer comments, I feel like I missed some significant footage -- sad, because I saw this as a candidate film for the National Film Registry. My experience was that the cannibalism wasn't even broached -- "hinted at" is a smaller and more fitting description. I started out with the understanding that the film deals with this topic, so it was easy for me to find the theme in the disjointed images that Harvey (allegedly from his deathbed) pieced together. However, in the edit that I saw, Harvey really only approached the subject during the dinner scene, which to the uninformed viewer, leaves Jason Henry coming off only as a rather perverse murderer.

As a red-toned color film, it kept with the 70s feel, especially with the Lou Rawls theme song that really seems not to fit at all, and it's definitely the sort of film that you can settle into on a Saturday afternoon.

For the most part, I felt that it was a shaky effort that obviously suffers from the (unavoidable) lack of directorial input in the final stages.

Despite this, the one incredibly positive thing I have to say is that Harvey did succeed in creating one impacting, chilling, flawless scene in a movie of otherwise so-so acting. Harvey is the perennial director, and this is never so evident as when he plays Jason Henry behind a camera. The moments just prior and after this are really unspectacular, but in the few seconds that the viewer is looking at the visage of Harvey, peering from behind the camera with diabolical intent, I was completely stunned and frightened, not because Harvey belonged in the psyche of a killer, but because the killer belonged behind the camera -- Harvey's character became more real, more insidious because the character encompassed a real person. Not a better case for method acting exists, I would venture.


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