"Local officials assured all citizens that the invasion of the sea zombies is over. We return you now to morning melodies…”
Radio announcer in “Horror of Party Beach.”

Harry Medved (Michael’s brother) wrote a book in 1978 that fast became my favorite film reference, “The Fifty Worse Films of All Time (and how they got that way).” It was eventually supplanted by Michael Weldon’s “Psychotronic Encyclopedia of Film,” but for several years “Fifty Worse” was more or less my Bible. It was not necessarily because I loved bad films - even back then I knew that was purely subjective. It was more out of a fascination with movies that promised something a little different, a little… odd. I searched out each film in that book, determined to see every one. This was a few years before home video had become a living room staple. And films like “Santa Claus Conquers the Martians” and “Robot Monster” could only be experienced on random 3AM late shows – if at all. Through the years, the one film that proved the most intriguing was Del Tenney’s “The Horror of Party Beach.”

The combination of dime store monsters, ‘60’s rock music and cracked dialogue was irresistible to this young cinephile. It also proved elusive. If it wasn’t for the good folks at Dark Sky Films, who knows how long the wait would have been. Or what condition the print would have been presented in. Fortunately for me, “Horror” and its double-feature companion “The Curse of the Living Corpse” are both presented in near-pristine, vibrant prints. The film gods must have been watching, as this disc is certainly the definitive release of each film on the home video/DVD market. What better way to witness, for the first time, such an elusive and much sought-after title. It turns out that “The Horror of Party Beach” was more than worth the two decade plus wait.

“Horror’s” plot is a relatively simple one; very much inspired by the radiation-fueled cinematic terrors of the 50’s. Off the coast of Long Island (actually Connecticut) a garbage scowl called The Floating Pig, dumps waste material into the ocean. A large canister leaks radioactive material into the sea, covering what looks to be a sunken pirate ship complete with skeletons. The material quickly transforms the dead shipmates into living sea creatures with a thirst for blood. Over at Party Beach, young lovers Hank (John Scott) and Tina (Marilyn Clarke) are growing apart. Tina wants to flirt with bikers and dance to the rockin’ sounds of The Del-Aires. But Hank (John Scott) is more serious and ready to settle down. The beach truly lives up to its name as twenty-something teenagers dance and cavort to the crazy beat. Elaine (Alice Lyon), one of the fellow “teens,” has sympathetic eyes for Hank and watches as Tina go-goes away from him into the hip crowd. The two share a quiet moment in between shots of dancing and “funny vignettes” of crazy beach kids. After starting a fight between Hank and some of the bikers, Tina heads out into the water for a swim. It proves poor timing for the go-go girl as she is violently attacked and killed by one of the sea creatures. Her body is soon discovered leaving officials baffled as to the cause of her death.

Conveniently, Elaine just happens to be the daughter of Dr. Gavin (Allan Laurel), important scientist and employer of Hank. Hank is his protégé and assists the older man with his research which is, conveniently, performed in the basement of the doctor’s home. With Tina dead, the young scientist is now available - and he quickly asks Elaine for a date. The two of them head back to Party Beach for some romantic music by the only band in the area The Del-Aires. While the young lovers begin their romance, more unsuspecting women are killed by the bizarre-looking sea creatures. In fact, an entire slumber party is massacred by the thirsty-for-blood monsters. What follows is more or less a series of vignettes tied together by the romantic leads, the doctor and his comedy relief, fresh-from-the-plantation maid Eulabelle (Eulabelle Moore). Warnings are posted about the monsters in the area and yet women, and a few men, are determined to wander around at night. People are hunted down by the monsters. Ominous newspaper headlines announce the carnage. Dr. Gavin and Hank investigate. Repeat. After much death and destruction, an eleventh hour discovery is made inadvertently by Eulabelle. It seems that when sodium touches the radioactive creatures, they quickly catch fire and burn to death. Soon the scientists and local police, armed with Geiger counters and lots of sodium, attempt to track down every last “sea zombie.”

“Horror’s” main claim to (in)fame is the wild look of the blood thirsty sea zombies. Much fun has been had over the years with reviewers attempting to comically describe the amazing costumes. The giant paper mache fish heads with bug eyes and what appear to be sausages coming out of their mouths… The odd, fabric-like material of the costumes cut into funny triangles for gills… The “second tier” monsters that have no distinctive features, just piles of seaweed material fastened to their heads. Make no mistake, the creatures are pretty amusing. But so is the entire film. Amusing and odd and wonderful in its unabashed determination to tell its tale, regardless of how little money there was to tell it. The question isn’t whether or not “Horror” is a bad film. The question, as far as this reviewer is concerned, is whether or not it’s an entertaining one.

I’ve had to sit through some pretty torturous films as a horror film fan (even more as a reviewer). It’s the rare title that comes across my desk that I can say is “good.” Rarer still is the film I can say is entertaining. I still attempt to give each film a modicum of respect; deserving or not. Reviewers who go on and on in David Sedaris-like anecdotes about these independent horror and sci-fi films from the 50’s and 60’s clearly need to reevaluate why they bother. The reviews of “Horror,” including the synopsis by Medved in his book, are less about the film than they are about the “clever” witticisms of the reviewer. Most tend to look at Tenney’s film context-free, unaware that much of the first half is a send-up of those great AIP beach movies. The short vignettes with the “teens” speaking their “immortal dialogue” (according to Medved) is spot-on silliness from those popular, empty-headed beach films. If Franky and Annette (Dee Dee to the faithful) had happened upon some blood thirsty beach monsters, chances are the result would have been very close to “Horror.” The rock music in the film (by The Del-Aires), so reviled by dozens of mean reviews, is perfectly serviceable 60’s pop. I’m especially fond of “The Zombie Stomp. But I digress… the query, left unanswered, is that “The Horror of Party Beach” is unquestionably entertaining. It is also one of the few films I’ve seen in quite a while I would bother to watch again.

The screenplay by Richard Hilliard (who also edited) is filled with bizarre brilliance. It’s intentionally funny, sporadically terrible, random, goofy and oddly compelling. Add to this mix wooden acting (not helped by its soundtrack, entirely created in post production), bargain basement production values and wildly uneven pacing and you’ve got the recipe for cult greatness. Tenney also lends the film an honest naiveté which adds greatly to its charm. Granted, this film is not for everyone. But those who are attracted to a title like “The Horror of Party Beach” will get what they are looking for in spades.

The second feature on this disc was also the second half of Tenney’s infamous drive-in double-feature. “The Curse of the Living Corpse” is the more traditional thriller of the two. It’s a 19th century period piece about an evil patriarch’s will and his greedy family. It would have fit in perfectly with the Roger Corman costume dramas at the time. After Rufus Sinclair dies, his family gather for the reading of his will. It stipulates that specific rituals be carried out by each member for a year. If anyone digresses from their duties, not only will they be disinherited, but Rufus will return from the grave and dispose of them. He also vows to do in each one according to their greatest fear. Fortunately everyone in the family has a unique phobia; fear of fire, fear drowning, etc. The family didn’t like old Rufus very much, so those duties he mentioned… It’s a parlor room who-done-it and, though occasionally slow, it’s far better acted and shot than “Horror.” Roy Scheider, in one of his first roles, plays one of Rufus’ no-good sons Philip. Candace Hilligoss from the creepy cult film “Carnival of Souls” turns up in a memorable supporting role. “Corpse” also features the late character actor Hugh Frankin who was famous for his role as Dr. Tyler on “All My Children.” Franklin is the family lawyer and one of the prime suspects. Though technically superior to “Horror,” “Curse” isn’t as involving or amusingly absurd. There is also a strange addition of a constable and his boring sidekick that seems wildly out of place. It’s still a fun ride and much better than its reputation would have you believe.

This Dark Sky Films’ release is far more than I had expected. As stated earlier, the black and white prints of both films are near-pristine. “Curse” is especially crisp and appropriately moody. It has the better cinematography of the two (attributed to “Horror” writer Hilliard). The Dolby Digital mix is very clear with little distortion. I’m sure that this is the best either film has ever sounded. Two great commentaries are included featuring the director. Tenney comes across as a really nice guy who is more than happy to discuss his often-disparaged film work. He also appears in some filmed interviews to talk a little about his varied career. Included are the great trailers for each film and art and photo galleries. This Dark Sky release is a major coup for Tenney fans and for aficionados of the great drive-in films of the ‘60’s.

Needless to say, Mr. Tenney, it was worth the wait. Funny and terrible - and completely wonderful and misunderstood, “Horror” is all these things and more. But certainly not one of the fifty worse films ever made. To misquote the great John Waters, ‘Some people get ‘The Zombie Stomp’ and some people are assholes.’