“Now use the axe Judge, listen to me Judge… use the axe Judge, go ahead Judge use the axe...”
Dr. Stephens (Michael Harvey) just “axe’n” for trouble in the quintessential grindhouse movie “Don’t Look in the Basement.”

Writer David A. Szulkin wrote what has to be one of the best books ever written about an exploitation film, “Wes Craven’s Last House on the Left: The Making of a Cult Classic.” It’s an exhaustive account on the making of the film, it’s distribution and the impact that it had on the exploitation market of the ‘70’s. In it he touches upon the distributor Hallmark Releasing (who also helped finance “Last House”) and the long list of exploitation films that they unleashed upon an unsuspecting viewing public. One of those titles was “Don’t Look in the Basement,” a Texas-lensed shocker that borrowed the “Last House” “...t’s only a movie” tag line for its advertising. Hallmark was extremely savvy in its marketing, often re-titling its acquisitions to ensure success. “Don’t Look” was originally called “The Forgotten” as well as “Death Ward #13” before someone wisely suggested its more sensational, drive-in-ready moniker. Though it never enjoyed the same success as the Wes Craven film, “Don’t Look” remains one of the quintessential exploitation films of its time and is definitely due for a reevaluation.

The patients at the Stephens Sanitarium are involved in a new experimental treatment. Most of them seem to be suffering from a heightened delusional state and all are encouraged to live out their fractured realities. Sam (William Bill McGhee) is a lumbering man-child, concerned mainly with toy boats and popsicles. Sergeant Jaffee (Hugh Feagin) never fully recovered from the war and is still battling an unseen enemy. Harriet (Camilla Carr) was unable to deal with the loss of a child and has become fixated on a baby doll and Oliver (Gene Ross), a former judge, seems to have completely lost himself within his work personae. There is also the resident sexpot Allyson (played with flair by Betty Chandler) who has some severe daddy issues. They are among a few other patients (and a small staff) at the secluded, two-story facility.

After her life is threatened once again by the unstable Harriet, Nurse Jane (Jessie Lee Fulton) decides that she’s had enough and goes to give Dr. Stephens (Michael Harvey) her notice. She finds him outside, in the middle of a therapy session with Judge. It’s a treatment that includes a sharp axe and the cutting of wood (evidently the Judge had some anger management issues). Just as the harried nurse tells Stephens of her decision, the patient chops the doctor in the neck with the axe. Dr. Masters (the amazing Anne MacAdams a.k.a Annabelle Weenick) rushes to the scene and attempts to placate the disoriented Judge. There she vows to do whatever she can to keep the “family” together. Soon after, Nurse Beale (Rosie Holotik), hired before Dr. Stephen’s death, shows up at the sanitarium. Though her arrival comes as a surprise to Masters (and seems somewhat of an inconvenience), the young nurse is asked to stay. It soon becomes apparent that the unorthodox therapy, without the supervision of Dr. Stephens, has the potential for further violence. Nurse Beale is warned repeatedly to leave by frail geriatric Mrs. Callingham (Rhea MacAdams) - whose tongue is eventually ripped out of her mouth. Further random acts of violence and a shocking revelation (to the heroine, if not the audience) soon compel the beautiful nurse to do expressly what the title has forbidden.

Screenwriter Tim Pope wrote a solid, if eccentric, little script that makes good use of its one-location setting. The simple story structure has several unnecessary plot holes (some of which might be attributed to a few purported missing scenes), but this only adds to the off-kilter reality imposed by the delusional patients. “Don’t Look” was directed by the late S. F. Brownrigg, a filmmaker known for making the most out of micro-budgets and finessing great performances from inexperienced actors. This was his first film and many from the “Don’t Look” ensemble would show up in his subsequent work. The key asset to this grindhouse favorite is indeed Brownrigg’s deft touch with his cast. “Don’t Look” is essentially as series of claustrophobic scenes with two or three actors at any given time. Though the cast is small, Brownrigg never has the entire ensemble in the same scene. It’s a choice that greatly adds to the unsettling atmosphere; there’s always some patient not present - off to their own devices. It’s also a testament to the performances (and the wonderful lurid photography by Robert B. Alcott) that the momentum continues to build despite the confines of the sparse setting. Gene Ross, Camilla Carr and the late Anne MacAdams all enjoyed varying degrees of success in film. William Bill McGhee, who is unforgettable as the simple-minded Sam, didn’t do much after “Don’t Look,” but he would, ironically, later appear in the comedy “Drive-In.” The beautiful Rosie Holotik, who portrays Nurse Beale with a subtle combination of strength and naivety only made a handful of films before she gave up acting and eventually began a successful career in real estate.

It’s been rumored that David A. Szulkin’s next book will be, appropriately enough, a biography on Brownrigg who created his own Texas-based film company in the mid-60’s. All of his ‘70’s exploitation output: “Scum of the Earth,” “Don’t Open the Door,” “Keep My Grave Open” along with “Don’t Look” were produced by his Century Studios. Not much has been written about Brownrigg, let alone his impressive film resume (however short). If Mr. Szulkin does half the job on Brownrigg that he did on “Last House” it’s certain to be a compelling read. “Don’t Look” has a rather poor reputation among horror fans, much of which must be attributed to its public domain status. Any video company wanting to make a few dollars off this film can do so with a small investment in a (typically poor) print. The drive-in graveyard is filled with wonderful films that are poorly represented by cheap video distributors. Other obscure genre films that have suffered greatly because of a copyright lapse include Theodore Gershuny’s “Silent Night, Bloody Night” and Willard Huyck and Gloria Katz’s “Messiah of Evil.” (Both are amazing films and both are only available in dark pan and scan abominations.) This particular review is for the newest “Don’t Look” release from Alpha Video. The technical aspects are negligible… sound is adequate as is the picture. The print seems to be from a 16mm copy (as the aspect ratio seems to dictate). To their credit, it’s not the worst print available and Alpha did go the extra mile and came up with some cover artwork that uses actual imagery from the film. There are no extras save for a six-panel access menu (not animated) and a gallery of video titles available from the company. Regardless of its cheap origins, Brownrigg’s film deserves better. Nothing will be able to duplicate seeing Robert B. Alcott’s lurid compositions on a giant drive-in screen. But restoring the print to its former 35MM glory and presenting it in the original aspect ratio would be a nice start. Mr. Szulkin works for Grindhouse Releasing, the DVD company that put out the definitive version of “Cannibal Ferox.” He was also responsible for the great “Last House” reunion short on the recent MGM DVD release. Maybe with Szulkin’s connections (and his affinity for Brownrigg) a new release with a quality, letterboxed print and requisite extras will finally be issued.

Until then: “To avoid disappointment, keep repeating: It’s only a crappy public domain copy, it’s only a crappy public domain copy...”