Exclusive Herschell Gordon Lewis 18x24 BLOODMANIA Theatrical Poster
A KISS ME MONSTER EXCLUSIVE! Herschell Gordon Lewis' official 18x24 BLOODMANIA theatrical poster. Arwork by Mark Spears. Important! This is the last horror anthology Mr. Lewis directed in 2015 before he passed away in 2016 at the age of 90. It was released by Diabolique Films (a division of Diabolique Magazine) in association with HGB Entertainment and produced by Mr. James Saito. A must have for your growing poster collection.
About Herschell Gordon Lewis (June 15, 1926 – September 26, 2016) An American filmmaker, best known for creating the "splatter" subgenre of horror films. He is often called the "Godfather of Gore", though his film career included works in a range of exploitation film genres including juvenile delinquent films, nudie-cuties, two children's films and at least one rural comedy. On Lewis' career, AllMovie wrote: "With his better-known gore films, Herschell Gordon Lewis was a pioneer, going farther than anyone else dared, probing the depths of disgust and discomfort onscreen with more bad taste and imagination than anyone of his era."
Lewis served as producer on his first film venture, The Prime Time (1959), which was the first feature film produced in Chicago since the late 1910s. He would assume directing duties on nearly all of his films from then on. His first in a lengthy series of collaborations with exploitation producer David F. Friedman, Living Venus (1961), was a fictitious account based on the story of Hugh Hefner and the beginnings of Playboy. Lewis and Friedman's movies were early exploitation films, and the films' nude scenes, although softcore, were not seen in "mainstream" Hollywood pictures because of the censorship imposed by the Motion Picture Production Code.
The two continued with a series of erotic films in the early 1960s. These films marked the beginning of a deliberate approach to filmmaking which each respective party would continue through their production careers — films made solely with the intention of turning a profit. Typical of these nudies were the screwball comedies Boin-n-g! (1963) and The Adventures of Lucky Pierre (1961), a film made for a shoestring budget of $7,500 which would become the duo's first great financial success, which made three times its budget upon its first release. Because film restrictions had not yet allowed for sexual depictions in films, the bulk of Lewis and Friedman's early work consisted of nudist camp features like Goldilocks and the Three Bares (1963), which appropriately billed itself as "the first (and to date the only) nudist musical".
With the nudie market beginning to wane, Lewis and Friedman entered into uncharted territory with 1963's seminal Blood Feast, considered by most critics to be the first "gore" film. Because of the unprecedented nature of this type of film, they were able to cater to the drive-in theater market which would have been inaccessible with their prior skin flicks. Two Thousand Maniacs! (1964) and Color Me Blood Red (1965) followed the same formula. The full-color gore on display in these films caused a sensation, with horror film-makers throughout the world becoming eager to saturate their productions with similarly shocking visual effects.
Lewis stopped working with Friedman after making Color Me Blood Red, but continued to make further gore films into the 1970s. His next gore entry wouldn't come until 1967, with A Taste of Blood, often referred to as the "Gone with the Wind of Gore" due to its relatively lengthy running time of nearly two hours. The following year would bring a more extreme take on the genre, The Gruesome Twosome (1967), most notable for incorporating an electric knife used to scalp one of the victims.
Outside his notorious gore canon, Lewis pursued a wide gamut of other exploitation avenues throughout the sixties. Some of the more taboo subjects he explored include juvenile delinquency (Just for the Hell of It, 1968), wife swapping (Suburban Roulette, 1968), the corruption of the music industry (Blast-Off Girls, 1967), and birth control (The Girl, the Body, and the Pill, 1967). He was also not above tapping the children's market, as with Jimmy the Boy Wonder (1966) and The Magic Land of Mother Goose(1967), which were padded out to feature film length by incorporating long foreign-made cartoons. Most of Lewis' films are available for purchase through the Seattle-based video company titled Something Weird Video which finds and restores lost and little seen exploitation movies from the 1950s, 1960s, and 1970s.
Lewis financed and produced nearly all of his own movies with funds he made from his successful advertising firm based in Chicago. Always resourceful despite the low budgets he worked with, Lewis purchased the rights to an unfinished film and completed it himself, re-titling the film Monster a Go-Go (1965). Many years later, the film gained notoriety after being shown on the Mystery Science Theater 3000 television show, where the cast stated it was the worst film they have ever done. Lewis would repeat this formula when he acquired a gritty psychological piece called The Vortex and released it as Stick It in Your Ear (1970) to be shown as a second feature to The Wizard of Gore (1970). This approach demonstrated Lewis's business savvy; by owning the rights to both features, he knew he would not get fleeced by theaters juggling the box office returns, a common practice at that time.
Lewis's third gore phase served to push the genre into even more outrageous shock territory. The Wizard of Gore (1970) featured a stage magician who would mutilate his volunteers severely through a series of merciless routines. By 1973, Lewis had taken the gore approach to such a limit that it began to lampoon itself, which is why The Gore Gore Girls (1972) (featuring an appearance by Henny Youngman as the owner of a topless club) would mark his semi-retirement from film altogether. By the early 1970s, he decided to leave the filmmaking industry to work in copywriting and direct marketing, a subject on which he published several books in the 1980s.