User reviews

It's very sad to see Joan Crawford reduced to appearing in this cheaply made and poorly written opus but she behaves like a STAR all the way through. Who else would have looked so good in a leotard at 62 years old? The film is set in a travelling circus (in reality the UK's Billy Smarts Circus, one of the best and biggest of its day)and much of the running time is taken up with showing the acts. As most UK circus acts are now animal free it's an interesting history lesson to see how these acts were actually presented. It's quite a breathtaking sight to watch a huge elephant step over half a dozen women prostrate on the floor and rather sad to see the lion tamer putting half a dozen snarling, growling beasts through their paces. Just look at Joans expression as she helps lead out the performing poodles though, she's loving every minute of it! We know that she had pet poodles of her own and she is really in her element here. The plot (what there is of it) doesn't bear too much scrutiny and the revelation of the killer and the motive are quite ridiculous. Also on the minus side of things are some poor performances - George Claydon in particular and a cringe-making musical comedy number which appears out of nowhere. There is also a hugely embarrassing scene with Crawford looking like an ancient ghost, wearing shoulder length hair and a neck high negligee, being romanced in her trailer by hunky Ty Hardin - she was 62 and he 37! On the plus side there are some great character actors appearing including the fabulous Diana Dors, Michael Gough, Ambrosine Phillpotts and Robert Hardy but only Diana Dors gives Crawford a run for her money. Overall this is still a fun film for Crawford fans but if you're going to watch it don't watch the trailer first as it shows every killing and even the death of the (supposed) murderer!

Old Joan Crawford, dressed in tights and a ringmaster's coat throughout much of the film, plays Monica Rivers, circus owner and apparently heart-breaker to men decades younger than herself. Watch Joan cavort first with Michael Gough with lots of suggestions about their business and personal lives merging(fortunately for Gough this does not last too long as he soon finds himself nailed to another post). So with Gough gone, he-man Ty Hardin, a new high wire act who arrives after the old one hangs himself while performing, comes into the picture, no shirt half the time and all, and makes his moves for the less-than-sexy sixty plus year-old. Watching Crawford and her beaus work with heavily-laden dialog laced with absurd innuendo was the highlight of this film as it was just so preposterous. She looks ancient and yet acts like she is still 25! Anyway, the film itself is one of those films that is so very fun to watch just for those elements already mentioned, the then grisly murders as circus people start to die off, and the lush colour used in the film. The settings of the circus are believably done and Herman Cohen, the producer, always knew how to put on a good show. I even enjoyed some of the circus acts that were intermittently laced in the picture. The rest of the cast is very able with Gough, always good, and George Claydon playing Bruno excelling. Lovely Diana Dors and Judy Geeson also star. Hardin was really quite bad but I really enjoyed his trapeze act at the film's end. While the story can only be classified as silly and absurd, the ending seems way too abrupt even for this film. The film seems to be going along almost effortlessly - Joan prancing about working her guys over(Yuck!) and circus performers dying - then a quick ending that comes out of left field. Despite the many shortcomings, Berserk - why the heck is it named that? - is a whole lot of fun and is very similar, as some other reviewers have noted, to Straight-Jacket, Crawford's film for William Castle.

A high-wire act is going on as the film opens. The wire snaps, and Gaspar The Great is victim #1. Ringmaster Monica Rivers (Joan Crawford) sends out clowns to distract the audience as the body is carried off. Later that night, Rivers is going over box-office receipts, which upsets her manager Dorando (Michael Gough). He accuses her of not having a heart. The rest of the film is a whodunit, spiced with occasional killings, red herrings, and animal acts (the French poodle act was my favorite).

The Billy Smart Circus of Britain did the animal acts and the most difficult stunts. They also participated in an earlier British horror film, "Circus of Horrors" (1960).

Joan Crawford has a marvelous time chewing the scenery and outacting her costars. Diana Dors is fine as Matilda, the woman whose partner "does nothing in bed but snore". Hardin is the hunk who replaces Gaspar on the wire and in Monica's bed. Geeson is the girl who gets herself expelled from a private school and goes to work as the target in the knife throwing act.

The film does slow down after a fast moving first half hour. The finale is too abrupt, unconvincing, and badly staged. Despite these faults, film is still worth a watch.

Joan Crawford's fans will appreciate her foray into yet another horror show, this time as the feisty, hard-edged manager of a traveling circus show suddenly burdened with murders of several circus members. The careful photography cannot hide the fact that Crawford has aged considerably--and consequently, although her figure is still trim, her scenes with hunky Ty Hardin have an unpleasant and unbelievable quality about them.

The plot is strictly standard fare--who is responsible for the series of gruesome murders? For awhile, it looks like Joan herself is probably the wicked one--and there are a few other red herrings to make you think you know who did it. When the ending is revealed, in a climactic thunderstorm, it comes as a distinct letdown although a surprise, the reason being the guilty one is given no substance in the plot. The killer's identity seems highly implausible which makes the ending seem as though it has been merely tacked on to provide a final scene.

As these sort of things go, BERSERK isn't a bad way to pass the time on a low-budget mystery. The technicolor is good, Joan's costumes are fantastic, her shapely legs are on almost constant display and she uses her haughty manner to great effect. The details of circus life are smoothly integrated into the story and some of the animal acts are amusing--but none of the characters have any depth. Ty Hardin makes a handsome and arrogant stud whose daredevil highwire act provides some high moments of suspense as he performs over a row of spikes below. Like Crawford, he's given ample opportunities to show off his handsome physique.

Diana Dors makes the most of her role as an outspoken tart and all of the supporting performances are competent enough--Michael Gough, Judy Geeson and Robert Hardy. Certainly worth a view if you're a Crawford fan. The dialogue is ripe with campy one-liners.

Trivia note: The plot is slightly reminiscent of Barbara Stanwyck's LADY OF BURLESQUE where a series of backstage murders takes place with a slim plot involving a jealous performer.

The makings for a good thriller are here: a series of bizarre murders plagues a traveling circus as it journeys across England. Unfortunately, the film's pacing is slow and unimaginative. Scenes tend to run long and they've not been shaped to create any real suspense or urgency. Occasionally the film simply stops for footage of circus acts which, though mildly interesting, do little to advance the plot. Even the revelation of the killer's identity proves disappointing since this revelation doesn't seem to grow out of past events but has simply been "tacked on."

Despite these faults, there's a curiously likable quality to "Berserk," and Joan Crawford's damn-the-torpedoes performance as the circus owner lends it a certain "campy" charm. Especially amusing are her romantic scenes with Ty Hardin who was about 26 years her junior at the time of the filming.

Ty may have been a bit past his "beefcake" prime which he reached in his "Chapman Report" appearance some five years earlier, but he still looks good here with his shirt off, even though there's a curious reluctance to show his navel.

Rounding out the cast are Michael Gough, Diana Dors, and Judy Geeson. Robert Hardy plays the policeman sent to investigate the murders but his part proves to be superfluous.

This is a strange movie on a lot of different levels. The basic premise is Monica Rivers owns a traveling circus, and in the first few moments of the flick her high wire star is murdered (inexplicably by the tightwire snapping and then hanging him-unbelievable). This gruesome death increases business so Monica is needless to say not to upset her star has gone to the big tent in the sky. There are several other wildly amusing murders and no one in the circus is safe. Is Monica the murderer or is she just an innocent victim, next on the list? The one and only Joan Crawford wildly overacts as the circus owner Monica Rivers. She chews up the scenery as she torments the poor, frightened circus performers. She looks pretty great in her Ringmaster's Costume, even at 63 she had fantastic legs, but it is stomach churning to see her love scenes with the hunky Ty Hardin who was young enough to be her son for God's sake!!!! The idea that any man would pick the aging Monica over the young and beautiful Matilda (sluttily played to perfection by Diana Dors)is just too hard to fathom. Joan was just too old to pull this off, yet somehow we are to believe that she has so much allure she can get any man she wants.

The circus scenes go on WAAAAAAAAAAY too long, endless scenes of leaping poodles and llamas running, etc. They should have spent the time used on these pointless scenes developing the storyline more. There could have been a great movie here, but it never quite comes together. Poor Joan had been reduced in her later years to playing the "Grand Guignol" and she does a fair job of it, but the material is just too weak. The color of the film is vibrant, and there are some creepy moments of Monica being stalked as she walks through the circus late at night, but the ending is just too sudden and too abrupt. It left me wanting to know more of why the killer did what they did. There are some great campy scenes as well, 2 women catfighting, Joan making out with the young lover, etc., but overall I would say this movie is for die hard Joan Crawford fans only.

Yes, it's dreadful but then you seriously didn't think it would be anything else? "Berserk" was Joan Crawford's penultimate cinema release and at least she gets her name above the credits. She's the owner of a circus where the performers are dropping like flies and she made the film in the UK so the cast includes the likes of Diana Dors, Michael Gough, Robert Hardy and Judy Geeson. The male lead is a mostly shirtless Ty Hardin who probably needed the money to pay for his alimony. Indeed, this may well be a camp classic; it's certainly impossible to watch it with anything like a straight face and while Joan may be stiffer than a poker, at least you can't take your eyes off her.

I recently saw this on the 'Big Screen' and laughed all the way through the film. This is not a film to be taken seriously.

From the highly improbable yet shocking title credit, you know it will be an overacted, campy, ride. I mean, how many times do you see emergency personnel put someone on a stretcher face down to carry them out?!? The few murders are delightfully over the top and the dialogue is bitchy and knowing. It tries to be 'hard boiled" and fails miserably!

Yes, there are several scenes that are too long and/or pointless. We are shown entire circus acts of parading elephants and prancing poodle--even a bizarre musical number from out of nowhere. These scenes slow down an otherwise fun, campy film--although, they do add a sort of 'out-of-touch' surrealness to the film.

At the end, when the killer is reveal and the killer screeches that they had to "kill, kill, kill!" the audience in the theater roared with laughter.

This is film that should be seen with friends, preferable those that enjoy over the top acting, campy dialogue and inventive (if very improbable) murders!

Berserk is not as dreadful as I had anticipated. It's a straightforward and reasonably entertaining whodunit set in a traveling circus in Britain. Overall I wouldn't call the pacing slow, as others have, but it is odd. At the beginning the story moves along briskly, as the plot quickly thickens. Then periodically it breaks for extended circus acts that have no bearing on the story, though it could be argued that since we are half expecting a new murder to occur at any moment, we have no choice but to be attentive. Certainly this wouldn't be much of a film without the centerpiece, Joan Crawford, who delivers a forceful performance as the hardboiled boss of the circus. Over sixty, her hair is dyed pinkish blonde and worn tightly pulled back to emphasize her still attractive facial features (and possibly to lift the face) and in half her scenes she is wearing a mistress-of-ceremonies outfit with bare legs. She could still pull it off. But one notices several instances of "Joan Crawford lighting" that started in the 50s if not earlier: in these instances the upper part of her face is high lit but there is a convenient shadow under the chin to de-emphasize the sagging jawline. (These days the average actress of 60-plus has had surgical facelifts.) The tone of her acting here is very much like the performance she gave around the same period on the CBS soap opera The Secret Storm in which she subbed for her ailing daughter who was a regular cast member of the show: full throttle whether necessary or not – but you got your money's worth or at least felt you were being generously served by the performer.

Ty Hardin as a high wire performer who sort of has the hots for Joan (we really can't tell because the script coyly dances around the issue) was on a career downturn at the time this was made and doesn't make much of an impression here. Diana Dors as an abrasive member of Crawford's troupe of performers enlivens every scene she's in. Just when you think she is stealing the film, in steps Crawford to show everyone who's the Star.

The production values are cheap but so well presented that they almost look expensive. Shooting actual circus acts lends an air of plausibility to the film as a whole that the script itself lacks, and one can understand the logic of approaching the production from this angle. If you cut out all of the genuinely interesting circus material this would be very thin gruel indeed. The scoring is also peculiar. Usually it's par-for-the-course sinister/suspenseful. But sometimes it veers off into a lush studio orchestra sound of the kind you'd expect to hear as underscoring to a scene of a limo gliding to a stop in front of a Beverly Hills mansion wherein Lana Turner is longing for love. This disconcerting shift occurs right after the dandy opening scene and credits.

Crawford seems in her element here as a tough lady with responsibilities and she is the main reason to see the film.

Now most people say this is a ridiculous and pretentious piece of clap-trap but they're wrong. This is considerably better than most crappy '80s period movies i've seen. Joan Crawford plays Monica Rivers, a sexy owner of The Great Rivers Circus who wastes no time in taking advantage of the publicity brought in by a string of murders - two of which happen during a performance - and falls under suspicion, all thanks to the loud-mouth Matilda (Diana Dors). She seems to fall apart with each tragedy and soon everyone - including her daughter (Judy Geeson), the cool-dude tightrope walker (Ty Harding) and the pompous manager (Michael Gough) - wonders if she's gone 'BERSERK'. Despite a few airy-fairy conversations and ludicrous puns, BERSERK is definitely a cult classic and should be seen if you've never been to a circus. It makes good use of suspense and you don't know who is getting it next.

Berserk!, despite many things including its overkill title, is not as bad as some people claim, though not a great success either, not as good as Max Ophuel's Lola Montes. The actors get through their lines professionally. Set in a circus, the movie does a tolerably good job of showing performers of the class of "freaks" as responsible participants, notably George Claydon. Its best scene is when the character played by the ueberblonde Diana Dors barges in, bottle in hand, on shirtless Ty Hardin, and he resists her close up. For his own reasons, he's set instead on Joan Crawford. Joan was not a spring chicken by the time the movie was made, if she ever was one: she looks good in her ringmaster's costume, running the circus she owns, but someone should have helped her better with the red cloak she throws over her dowdy nightgown and told her never to let down her red-tinted hair. The real problem is that the movie never lets sparks fly between her and Ty Hardin. It's not a question of age difference, because look at Anna Magnani's triumphs over Burt Lancaster and Marlon Brando. OK, Joan Crawford in this movie has the additional handicap of playing a character hard as nails. But a better script would have made the discrepancy of her motives tragic. The last 10 minutes close things down in a pretty improbable way (the last murder is not done by the same person as the others). It would have helped to have ten more minutes for the Crawford character to be bereft and not berserk. Meanwhile, for those into it, there are lots of circus acts that emphasize their risks.

Joan Crawford made some decent (if routine) thrillers after the success of "What Ever Happened to Baby Jane?", but "Berserk!" isn't one of them. A scream-filled, British-made heap of horror clichés, the plot involves a traveling circus beset with a psychopathic killer. Crawford runs the carnage-ridden carnival, and shows lots o' leg in her circus-manager costumes, yet these revealing outfits are a little bit laughable on a woman well into her sixties. Despite the obvious camp-value, the film isn't very enjoyable; it's shameful swill, a low-budget atrocity which may attract masochistic film-buffs, although the trained poodle act is kinda cute. *1/2 from ****

"We've eaten caviar, and we've eaten sawdust".

Only Joan Crawford could muster the dramatics possible to make the above line actually work, but she does it all with a totally straight face and makes this movie hysterically funny! Her scenes in lingerie with studmuffin Ty Hardin must be seen to be believed. That woman must have had an ego the size of Texas. The movie is worth seeing as a 'bad' movie that you'll enjoy.

In the wake of her brilliant "Whatever happened to Baby Jane" (1962) ,with a pleasing grasp of continuity ,Joan Crawford continued in the thriller vein.Unfortunately there is no Robert Aldrich here (and no Bette Davis either).

Actually we are closer to "Straight Jacket" (1964) which was a hilarious camp fest."Berserk" is more "conventional" which does not mean "plausible".When you know the killer's identity which I won't reveal of course,you'll say to yourself "how come?"."Berserk!" is primarily a whodunit à la Agatha Christie (doesn't it take place in England?The- murderer- is -among -us- and- pretty- soon -someone- else is-gonna- die stuff),but without anything of the writer's algebra .

Nevertheless,the circus is the place where you dangerously live.Anything can happen during the show so there is a good suspense which would not be sustained if the action took place,say,in a forest near a lake.The high-wire walker,the knives-thrower's partner,the girls under the elephant's feet,the lion tamer ,and Diana Dors in her box waiting for the saw which will cut her in two halves ,all are in danger even if the murderer does not strike.That's the strength of the movie.

Several murders at a circus in Britain demand a police investigation, including a detective from Scotland Yard. Joan Crawford plays the cold owner, Ty Hardin a high wire artist, Diana Dors a sultry performer and Judy Geeson the daughter of the owner.

"Berserk!" (1967) is similar to "Circus of Horrors" (1960) but with Crawford's star power; not that I'm a fan, but she certainly has the charisma to carry a film. While it lacks the spectacular feminine cast of "Circus of Horrors," it does feature a couple of notable women as high wire artists in the second half, not to mention Dors as Matilda; and Geeson's a'right. Meanwhile, Crawford was in great shape for a woman of 62 years of age when the flick was shot. Of course no one believes that Hardin's character is remotely attracted to her, but we can chalk that up to avarice.

This also has superior circus acts & animals compared to "Circus of Horrors," perhaps because it took advantage of an actual circus for the shoot. There's some hokey melodrama, of course, but anyone who appreciates circus/carnival flicks, like "The Greatest Show on Earth" (1952), "Roustabout" (1964), "Water for Elephants" (2011) and the aforementioned "Circus of Horrors" should enjoy this.

The film runs 1 hour, 36 minutes, and was shot at Shepperton Studio, just west of London, and Billy Smart Circus.

GRADE: B

After her success in 'What Ever Happened To Baby Jane?', past-her-prime Hollywood star Joan Crawford appeared in several horror/thriller films for which 'camp' is perhaps the most applicable adjective. Rather than begrudgingly accept each ridiculous role and phoning in a lacklustre performance (as so many 'down on their luck' actors have done), Crawford actually appeared to embrace the genre and relish its absurdity.

And absurd this film most definitely is, but certainly no less enjoyable for it. From the brilliant reveal of the film's title (a high wire performer falls and is hung by the neck, his body swinging across the screen to reveal the word Berserk) to the quite outrageous finalé, this is as much fun as a barrel of monkeys.

Speaking of monkeys, there aren't any, despite the circus setting; there are, however, acrobatic elephants, prancing ponies, trained lions, and pack of performing poodles, all part of the traveling show owned by Monica Rivers (Crawford). After her business manager Dorando (Michael Gough) is murdered, Miss Rivers finds that the crowds start to pour in out of morbid curiosity and in the hope of catching some real drama. Since the circus's owner is the one who stands to profit most from the deaths, she becomes one of the prime suspects, but there's no shortage of other possible killers: midget Bruno (George Claydon), blonde Matilda (British sex symbol Diana Dors), new high-wire act Frank Hawkins (Ty Hardin), as well as a gypsy fortune-teller, a bearded lady, a strong man, and a skeleton man. Hell, even some of the zebras look a little suspicious. It's up to Scotland Yard's Detective Supt. Brooks (Robert Hardy) to try and crack the case.

Director Jim O'Connolly makes the most of his colourful circus world with plenty of entertaining acts to punctuate the drama, including a lion-tamer who definitely earns his wage. The acting from the supporting cast (the circus performers) is diabolical, which is entertaining in itself, while the death scenes range from the tame (the off-screen sawing in half of a victim) to the nice and gory (a metal tent spike through the head and a high fall onto steel bayonets). There's also a fair amount of glamour: for those who don't mind them on the mature side, Crawford swans around in a black leotard; for those who like 'em fuller figured, there's Dors, squeezed into a corset; and for those who prefer them still in their teens, we have pretty Judy Geeson as Rivers' feisty daughter Angela, who wears a revealing costume as a knife-thrower's assistant.

After lots of squabbling between the circus folk, several impressively colour-coordinated outfits from Crawford, and a hilarious lip-synched song and dance routine from the midget, the bearded lady, the strong man, and the skeleton man, we finally find out the identity and motive of the killer, and it's so dumb it cannot fail to entertain. As the killer makes a bid to escape, they are struck by lightning, which makes for a fittingly bonkers end to a totally trashy horror.

When a series of murders plagues a traveling circus, the owner decides to carry on with performing, which manages to continue on the legacy of bloodshed already unleashed and they must stop the madman before more performers are killed.

When this one really tries, there's some good stuff in it. What really helps this one is this is a more modern-feeling film with its general structure, familiar themes and motives, and even the fact that this one decides to spend time with a series of stalking occurring in the appropriate time-frame rather than hanging around Gothic castles or being back in the olden ages. Using the ploy of having a circus to entertain regular folks but keeping it still around in the more modern times really gives this one a much more appealing style throughout here. The deaths in here aren't that bad either, and the scenery certainly provides plenty of opportunities for creative deaths. The two big ones center around the high wire acts in the film, as one has the rope cut and then wrapped around the neck, forcing the victim into a form of pendulum swinging over the stage, while the other one where they are knocked off with a knife thrown into the stomach and falls off into a bed of razors below are both quite good, and overall the other kills in here are just as fun. The last big positive is that this one really does show the magic and wonder of the circus. While nothing more than stretching the film out, the fact that this one takes the time to show how the circus once was merely makes this one look all the better. These here are the film's good points while the flaws here are much more imposing. The main factor here is the fact that this one has a really terrible pace to it is one obstacle to overcome. Even though it's nice to be able to see why the circus was once so important, this one suffers because it stops the film cold to showcase material that offers up nothing all that exciting. Seeing the main circus performances here in the film are just plain tortuous to sit through, and they don't help the film at all. Another rather big flaw is that the film decides to really forego much in the way of logic or common-sense. The identity of the killer is mostly responsible for much of this. It's nearly impossible to figure out how the beginning murders were committed once the alibi is given. They don't match up at all, and this is merely the beginning of them. Another minor flaw is the terrible musical number performed. Not only does this one also stop the film cold, it's way too ludicrous to watch without laughing as the lip-synching displayed is way too obvious and the voices so completely out-of- place on them as well. It's still a really terrible scene, and along with the other flaws, really keeps this film down.

Today's Rating/PG-13: Violence.

. . . Joan Crawford's agent (no doubt a very brave man) should have told her. "Maybe a dramatic anthology, we could get you a recurring role on 'Peyton Place,' hell, I'll have Tennesse Williams write you a play and you'll finally be on Broadway. But please, don't do 'Berserk.' I know you're a Christian Scientist but all the prayer in the world won't heal your career if you make this bomb." However, Joan was a strong-willed lady (to put it mildly) and so she went, well, "Berserk." This might be the worst idea, ever, for a motion picture. It's a cheapie that intersperses scenes of circus acts with a grisly serial-killer mystery. Which means it's supposed to appeal to small children and teenaged horror fans -- two audience segments which should not, repeat, not be in the same theater. Perhaps knowing what kind of turkey they were stuffing, the screenwriters didn't worry too much about continuity. "Berserk" may set a cinematic record for unresolved plot points. What happened to Joan's husband? Why did the trapeze artist kill a man in Toronto? Why is the cockney midget stalking Joan? Maybe the filmmakers intended to tie all these loose threads together but apparently they got so sick of making this movie that they concocted a ridiculous deux ex machina for an ending and called it a wrap. ("Nice working with you, Miss Crawford." "I wish -- hic! -- I could say the -- hic! -- same.")

The plot, such as it is, centers around Joan as the owner of a traveling circus in Britain. Is Joan supposed to be English? The movie never bothers to explain her accent, but her ungrateful blonde daughter (shades of things to come!) is played by the very British Judy Geeson. Joan's performers and business associates start dying mysteriously, but she isn't too upset by it, since the bad publicity is good for business and her legs still look good in her Mistress of Ceremonies costume. Her romantic interest is "portrayed" by Ty Hardin, who's half her age and half as animated. Hardin would go on to join the Aryan Nation in the 1970s, perhaps blaming "the Jews who run Hollywood" for his film non-career. He should blame his mediocre looks and lack of talent instead. The circus acts are mildly entertaining, the foppish detective investigating the murders is moderately amusing, but the horror is, for the most part, pretty lame -- the producers apparently didn't budget for much blood so only one or the murders is even remotely gory. Watch at your own risk.

Some people really have no sense of humor. I am talking about the ones who dissect the script and the acting, on and on, and say what a bad movie it is. OK, fine, on that basis, I give it a 4! But it's funny, it's campy, and doesn't commit the worst sin a movie can make, that is, it is not boring.

Actually I found it not as bad on its own merits as I expected. But in any case, the garishness, the 60s nostalgia, the unintentionally hilarious dialogue, and of course, most of all the inimitable Joan Crawford looking like a combination of Mae West and Divine.

If you liked Berserk and want to see another "bad" Joan Crawford horror fest, I highly recommend Straight Jacket, which I truly rate a 10!

Forty years earlier Joan Crawford starred in a film set in a circus called 'The Unknown' opposite Lon Chaney. An undisputed classic horror. Here she is again in the world of sawdust and although one cannot but admire Miss Crawford for her longevity one cannot but feel saddened that she is reduced to appearing in this rubbish.

Directed by someone named Jim O'Connolly with a truly terrible score by Patrick John Scott this is film-making at its most abysmal. Its box office success is mystifying but of course films of this type will always have their devotees.

Producer Herman Cohen had two more delightful offerings up his sleeve: 'Trog' and 'Craze'. YOU HAVE BEEN WARNED!