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Welcome Scribbler Horror Fans! Cult third trip to The Movie & Music Network takes him on a trip to...
Cult’s Thoughts…
John Morghen still a man in Cannibal Ferox
It was the title of this film that first caught my attention. When I delved into further details regarding this release my interest peaked however as I discovered to my delight that a certain Italian horror icon was included in the cast. Giovanni Lombardo Radice is better known as John Morghen. He has suffered what are quite possibly two of the most notorious death scenes ever put to celluloid, a cringe inducing moment for most men in Cannibal Ferox and a handyman's worst nightmare come true in Lucio Fulci's City of the Living Dead. He has also worked alongside David Hess in the controversial shocker House at the Edge of the Park.
HoFM is apparently inspired by a true story, my curiosity only grows.
HoFM is apparently inspired by a true story, my curiosity only grows.
Sebastian (Arcangeli)
A prologue starts this film with a young lady dressed in gothic attire being dropped off in the street. She is soon approached by an unknown individual wielding a camera. The following POV shot follows her for a short while until we are introduced to the film's main character Sebastian, Dominziano Arcangeli (IMO a dead ringer for a young Mickey Rourke), waking up due to obvious distress in his sleep. The next scene has Sebastian watching footage (on a hanging curtain on his wall) that carries on where the prologue was cut short. The shot continues to follow the temptress through a relaxed brothel setting and into a more intimate one. The image suddenly becomes blurry as it boasts questionable frenzied movement, it fades to black as the viewer turns his back toward the screen with a resigned visage. A title proclaiming Act I starts the next scene.
Sebastian & Sarah (Hoffman)
Sebastian is then taking lurid pictures at a grisly crime scene telling a law official that he works for a newspaper when prompted. From out of nowhere a youth startles Sebastian and hands him a bright red ball, for some reason his face transforms quickly into shock. The ball is seemingly enough to spark a vivid flashback montage and a morning of reflection in a stark white emotionless kitchen. A young lady is also introduced to us in this same reflection. A voyeuristic slow motion scene that has her pouring a morning beverage for an unknown male with a beaming smile. The same person is revealed as Sara in the following scenes, at a formal gathering for her birthday, she shows an interest for Sebastian while others openly scoff and ridicule him proclaiming him to be creepy.
Against her better judgment, battling her moral compass, Sara finds herself falling for her new friend as her intrigue for his 'work' continues to grow. Sara plans to publish a book to help abused children while her new friend's plight tugs at her curiosity. In an impromptu heart to heart they connect, in furiously unweaving their troublesome, unusual and emotionally scarring childhoods they become obsessed and enamored with each other.
Against her better judgment, battling her moral compass, Sara finds herself falling for her new friend as her intrigue for his 'work' continues to grow. Sara plans to publish a book to help abused children while her new friend's plight tugs at her curiosity. In an impromptu heart to heart they connect, in furiously unweaving their troublesome, unusual and emotionally scarring childhoods they become obsessed and enamored with each other.
The film progresses to delve more into what our camera obsessed main character actually does for a living. In a secluded darkened alley he converses with a suited large man watching over a magazine stand. With a dramatic flair the same man informs Sebastian that, “television is the best example of what a sick society we have become.” Only then does he proceed to barter with a coy elderly gentleman on vague images (both referred to them in a spontaneous code of sorts) that are well concealed from prying eyes. Later in the movie the viewer witnesses the same 'smut peddler' directing a scene that has gone horribly awry involving hysterical children (thankfully the director choose not to show them) and naked masked men hovering close by in a state of arousal.
Act II deals in exploring the darkened recesses of Sebastian's mind. Through portals and glass display cases (or the title of the film, The House of Flesh Mannequins) the viewer is subjected to the various aspects of deviancy and abnormality that reside there as Sebastian himself peers through the same to face what may be his encroaching madness. Tis a seedy cavernous expanse indeed. The tableau ranges from the grisly to the absurd; posing amputees, excited clowns, torture scenes including body modification, images heavy in S&M and acts of necrophilia.
Whatcha doin'? Just hangin' out
John Morghen
Act III
Sebastian's sanity continues to slide from his grasp. The lines become blurred as he starts to hallucinate with bloody visions clawing at his psyche (Lady Macbeth, anyone?) A confrontation erupts when Sara's concerned father (the aforementioned John Morghen) chooses to visit Sebastian uninvited. Thankfully his ailment restricts his discovering more of his daughter's friend, though he does show a dark side of his very own. In wishing to leave a copy of her recently published work, Sara gives in to uncontrollable urges and gets caught watching some of Sebastian's work that he rather wishes her not to see. In a twist the viewer gets to know more of Sebastian, I won't give any (more) spoilers but suffice it to say it's another blatant nod to (a genre defining film from the 50's) Peeping Tom. The cult feature is previously mentioned when Sara stated she wanted to see it as she stood next to a poster advertising it. It is obviously a huge influential work for this film's director.
Sebastian's sanity continues to slide from his grasp. The lines become blurred as he starts to hallucinate with bloody visions clawing at his psyche (Lady Macbeth, anyone?) A confrontation erupts when Sara's concerned father (the aforementioned John Morghen) chooses to visit Sebastian uninvited. Thankfully his ailment restricts his discovering more of his daughter's friend, though he does show a dark side of his very own. In wishing to leave a copy of her recently published work, Sara gives in to uncontrollable urges and gets caught watching some of Sebastian's work that he rather wishes her not to see. In a twist the viewer gets to know more of Sebastian, I won't give any (more) spoilers but suffice it to say it's another blatant nod to (a genre defining film from the 50's) Peeping Tom. The cult feature is previously mentioned when Sara stated she wanted to see it as she stood next to a poster advertising it. It is obviously a huge influential work for this film's director.
gut wrenching taken to the horror level
The climax to this feature is a surprising, enjoyable and quite unexpected one. Karma is delivered from the barrels of a much revered shotgun. Reconstructed media footage in the film's epilogue reminds the viewer that HoFM is based upon real events, although one might wonder how loose of a term 'based' is (much like others proclaiming the very same). There is no doubt this a rough film to take in folks. It is certainly not for everyone due to its subject matter with its unapologetic pornographic images and blatant graphic content. It delves deep into fetishes both extreme and bizarre (and oftentimes illegal) while all the while displaying an excellently executed artistic style and atmosphere (accompanied and only added to by powerful classical music) that many directors and finished films in the same genre could only ever hope of attaining.
Shush means shush!
HoFM has a certain European vibe that is undeniable, personally, I thought of Giallo works from Dario Argento and others of his ilk while viewing. Dominiano Cristopharo has crafted a tale that although controversial will stand the test of time. IMO it stands up there with another I have also reviewed here, Subconscious Cruelty, in regards to how much of an effect witnessing it will have on the viewer. Kudos has to be given to the director and the writing team for sticking with their vision, keeping their artistic integrity and completing the film as they saw fit and perhaps not as a myriad of others might have steered them to do.
Sarah digs in!
The acting is mostly exemplary and believable to a point where you often find yourself feeling something for the characters. Some actors are more widely known for their adult movie roles (some moments are undoubtedly classified as XXX) and not necessarily for roles such as this but this fact doesn't take anything away from this feature, only adding a new layer to its allure. Dominziano Arcangeli as Sebastian nails his portrayal of a man teetering on the precipice of darkness while Irene A. Hoffman as Sara Raeg (whose real tale this movie is based on) successfully plays the part of an easily malleable innocent unsuspectingly drawn into the world of darkness. Even though Giovanni Lombardo Radice's role is somewhat small it still adds to the feature, admittedly his name was what caught my eye in the first place but it was ultimately the content of the film itself that held me in its sway.
Sarah learns some people are finger lickin' good!
In conclusion this is an excellent film I would highly recommend to anyone with an open mind, an urge for something slightly different, truly uncensored and in my mind a feature that is quite remarkable. Once again, the Movie & Music Network delivers in aces. If only I could somehow find more time in the day to surround all of my senses with their excellent selections on display. I'll confuse the bearded, chimney clambering fellow this year by putting mastery of time and the ability to scribble faster on my Xmas list. House of the Flesh Mannequins disturbingly passed The Scribbler Clock Test so as to be dubbed… happily…
THE SHIT!!!
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