While clumsily executed theatrical action fills Camp on Blood Island’s final frames, there’s still something worth rooting for.Ĭrisp black & white imagery looks generally pleasing. Such close calls become common the relentlessness from the Japanese side ensures every risky action carries weight. A sequence in which a British captive must destroy a radio is beautifully composed, and set deep in nighttime shadow. Yet it’s an overall success, generously paced at only 80-minutes, and constructing deep tension as needed.
Given the few POW thrillers focused on women, Camp on Blood Island misses an opportunity. The script also pushes the focus on the men, merely glancing toward the women, using them for emotional weight, not as characters. It’s sparse too, if an accidental success in making the camps look so isolated. Indian Marne Maitland plays a key Japanese figure, unconvincing in appearance as much as the stilted dialog delivery. There’s loss and mistakes, an imperfect force against their opponent.Īt times, Hammer makes due with this production. Camp on Blood Island is fearful of what happens when such beliefs penetrate a populace, and the climatic battle isn’t a thick, implausible action scene where the British win. Their viciousness is evident immediately, and not only for exploitation and British patriotism it’s depicting Imperialism and its effects on soldiers who see themselves as invincible, soon to rule the world. The opening moments depict a prisoner digging a grave, the Japanese then shooting him into it. It’s an effectual, memorable story, soaked in humidity, and stressful. Also nearby, a second camp, that with women and children, also soon to be massacred upon any mistake. A nearby plane crash is terrifying, because if the pilot survived, he’ll unwittingly bring information to the Japanese, and with no recourse to fight back. That turns the usual psychology against those captured, who rather than escape, seek anyone from getting in. Audio Commentary with Hemisphere Marketing Consultant Samuel M.… clumsily executed theatrical action fills Camp on Blood Island’s final frames, but there’s still something worth rooting for.Audio Commentary with Horror Film Historians Nathaniel Thompson and Howard S.
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In perhaps the most infamous film in the BLOOD ISLAND franchise, co-directors Eddie Romero and Gerry de Leon upped the already over-the-top nudity, violence, horny monster havoc and unmatched WTF?-ness of the first movie to deliver what Dangerous Minds hails as “one of the greatest/nastiest/goriest films of the 1960s.” AIP-leading-man-turned-producer John Ashley ( HOW TO STUFF A WILD BIKINI, THE A-TEAM) and ‘60s-starlet-turned-‘80s-porn-queen Angelique Pettyjohn ( STAR TREK, TITILLATION) star in this “horrifying nightmare of a thousand frightening dreams” – also known as GRAVE DESIRES and TOMB OF THE LIVING DEAD – now scanned in 4k from a recently discovered camera negative and presented totally uncut for the first time ever, including the legendary “Oath of Green Blood” prologue!
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