Underrated Slashers Presents, Frank Zito of ‘MANIAC!’

Horror takes many shapes and assumes various forms in order to affect us. Be it monsters, killers, or simple catastrophes, horror is there to incarnate both our deepest fears and our darkest sense of humor. By far, the Slasher Genre is my favorite kind of horror to watch, and there are hundreds to choose from out there. So much so that too many of them go overlooked and remain underrated. For that reason I, Manic Exorcism, gladly pull back the tattered veil to shed some sinister light upon these underrated slasher killers.

 

MANIAC (1980)

Why hello again. Come and gather around the hobo fire. Have your pick of any select hooker to scalp (they always come in plenty around this side of town), because today on Underrated Slashers we’re heading into some very sketchy places and getting extra sleazy, my little Nasties. Today we’ll be looking at one of the 80’s all-time best slasher films, William Lustig’s MANIAC!

The world of Frank Zito is a vile one indeed. One of the uncontrollable desires, lust, a cruel obsession for the flesh, and – above all else – murder. Brought to us by the larger-than-life performance of Joe Spinell , Frank Zito’s is a tale of atrocities and tragedy. A man controlled by need and ruled by his addiction. An addiction not for narcotics, no, but for something far more seductive. The addiction for perfection and beauty. The lovely victims who fall prey under his serrated knife are not innocent, at least not in his diluted sight. Afterall, they were told not to go out tonight.

The Midwest Film Journal
image via The Midwest Film Journal

The 80’s were the golden years of the Slasher Genre. Ah Hell, that decade gave birth to the genre. That was the golden age of Freddy, Jason, Leatherface and Michael Myers! When the big baddies wet the screens red with the blood of the innocent, and we fucking loved it! That’s also the decade that was pumping out slashers on nearly a weekly basis, so much so that we could barely keep up with them. Sadly, as the bigger names were given limitless sequels as their box office success rose like the smoke off a cannibal pyre, there were single films that got woefully overlooked in the great crowd of murder and mayhem. And by no means does that mean these lesser-knowns were in any way inferior. Quite the contrary, as in the case of MANIAC, often times they were either equal to or superior to the hell unleashed upon Elm Street or Crystal Lake.

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image via Rotten Tomatoes

In the case of Frank Zito, the blood was realistic and the outcome was gruesome. As a matter of fact, this may very well be one of the most unpleasant films in the genre to sit through. You can feel the humidity of this film. I swear at times you can even smell it. You get that rancid stench of neglected trash filling the undercity’s gutters, and the odor of cheap cologne mingled with heavy sweat just permeates nearly every scene. It kinda smells like Old Spice and spicy sausage with a hint of uncontrollable BO.

Make no mistake, this is a very dirty movie. Every minute of the film makes damn sure you understand that. It’s a film that makes you want to shower after watching it, and fuck it all that’s why I love it! Few movies can have that kind of an effect on an audience.

Life Between Frames
image via Life Between Frames

We do not simply watch Frank Zito’s life, we are thrust into it. We walk the darkly wet streets with him. We sit in the corner of his dingy flat, and we are up close and personal with his obscenities.

ORIGINS

Every good serial killer must have a beginning, thus keeping that ancient riddle of nature vs. nurture alive – are maniacs born or built? In Frank’s case, we learn that he was constantly abused by his prostitute mother, and honestly, there is a wide-open door left here for us to explore the psychology of a killer through studying our nasty friend, Franky.

scumcinema
image via scumcinema

So, with Freddy we have a child killer who was provoked by his alcoholic father’s sadism, in Jason, we have an innocent child who was bullied, picked on, then left to drown, but who also had an overly-loving mother who was ready and all-too-willing to kill for her beloved Jason. Frank Zito was victim to his mother’s sick perversities. Zito had no supernatural powers, but he kept New York City in a grip of scarlet terror and still proves to be just as deadly as his fellow murderers.

I’ve said it before, but really that’s the kind of killer that makes us all squirm. They live in the flat down the hall, just like Dahmer. They aren’t the type we’d want to spend an afternoon with, but we would never expect to find a hidden museum of the macabre waiting behind their locked doors.

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image via bocadoinferno

And trust me – and without giving anything away – Frank has a grotesque little shrine built out of sin itself. For gorehounds, this is a film you won’t want to pass up! For slasher freaks, this is one underrated hit you have to finally see.

Recently, MANIAC has been enjoying a much-needed revival thanks to my friends over at Eibon Press. They specialize in bringing the crassness of grindhouse classics back to life with new twists and insidious depth. Their first issue of MANIAC is a must-have for any fan of the sleazy classic. And for the truest of sickies, issue 2 promises to pit Frank Zitto against the New York Ripper himself. So holy fuck! It’s a manic dream come true! To read more on the insane awesomeness of Eibon Press please click here and see what you’ve been missing in your life.

Wicked Horror
image via Wicked Horror

So there you have it, my Nasties. Frank Zito is out there in the dark corners of your world. He waits in the shadows and looks out through wild eyes of craven lust. Once he decides to strike there is no escape. So be careful when you walk away from here, and always keep your head turned towards those grimy alleyways, that parking garage you think is empty, or, if you’re really unlucky, outside your front door.

Creature Features: The Beautiful Practical Effects of 1988’s “The Blob”

Nightmare Nostalgia Presents Creature Features: An ongoing tip of the hat to some of horror’s greatest monsters throughout the genre that don’t seem to get the recognition they wholeheartedly deserve.

I don’t care how stubborn, or pompous this may sound: Computer generate all the damn monsters you want with the world’s greatest CGI program and programmer running it. It still won’t look better than practical effects and I certainly can’t appreciate it as much. The perfect example of such splendid monster-movie-magic is of course, Chuck Russell’s vision of the 1950’s Sci-Fi B movie, The Blob jello-molding it’s way into 1988.

 Creature Features: The Beautiful Practical Effects of 1988's "The Blob"

Thinking back to my childhood years, I clearly remember my first interaction with this glorious film, that at the time, I had no idea was a remake. In a pre-internet era and films relying on physical media such as TV spots and the good old-fashioned newspaper to get the word out. The one other way to draw unsuspecting fans into a film post-theater release, was the almighty VHS box art that would stare at you from the lined-shelves of the horror section like a haunted painting. This film, like many others of that time, sold itself to a tiny Patti with the cover-art alone that both intrigued and terrified me as a child. The simple showcase of what I later learned to be Paul’s fate displayed on the front of the rental, initially scared the shit out of seven-year-old me. I’m not entirely sure why, as growing up in a horror-loving-household watching Halloween at the tender age of two, this piece of art gave me the skeevies. I can distinctly remember only a few VHS horror art covers having that sort of effect on me. For almost 2 years, that pink, gooey man screaming at me through the art cover taunted me every time the parental units and I made a family trip to our local Action Video for the weekend rentals. And it wasn’t until I was allowed to ride my bike across the busy street by my damn self I was cut loose to roam the horror shelves of that mom and pop video store and rent freely on my own. Whatever I wanted. So of course, I gravitated to that jerkoff blobby Paul who has been tormenting the hell out of me. I had to see what this was about just based on this one picture alone. And now, 30 years later, it has become one of my all-time favorites.

Creature Features: The Beautiful Practical Effects of 1988's "The Blob"

 

Which brings me to the point here: That one image from the film doused in practical effects reeled me in and like many films before this gem in the ’80s, was balls-deep with beautifully done man-made monster magic. From Paul’s tragic demise to Vicki being eaten from the inside-out, The Blob is filled to the brim with dazzling and believable imagery that STILL looks better than a lot of modern day effects. The team responsible for igniting a fear of jello-molds everywhere was that of Tony Gardner, Chet Zar, and Bill Sturgeon of Alterian Studios. Who have since released some REALLY FUCKIN’ COOL behind the scenes stills on making that “extraterrestrial” man-eating glob that every fan of the film should take a gander at.

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LONG LIVE PRACTICAL EFFECTS.

Ya-Bang: Vinny Guastaferro Reflects on the Legacy of Jason Lives

“One of the great, great things about horror movies is that because there’s almost, I don’t want to use the words ‘cult following,’ but a fanatic fan base, they last forever.”

Jason Lives: Friday the 13th Part VI hit theatres on August 1, 1986, and three decades on, it’s a film that has not only demonstrated the staying power Vinny Guastaferro described, but seems to be gaining in popularity with each passing year. To mark the 32nd anniversary of Jason Voorhees’ resurrection, Guastaferro shared some memories of one the most popular, and certainly most unique chapters in franchise history.

Guastaferro came to the role of Deputy Rick Colone after being cast in Bullpen, a baseball play that revolved around the “banter between the pitchers” in the bullpen of a New York Yankees / Boston Red Sox contest that was directed by Tom McLoughlin.

The mastermind behind Friday’s sixth chapter, “like a lot of people in Hollywood,” shared with Guastaferro that “I just got a job doing a big movie and I’d like you to be in the movie,” the Jason Lives writer and director told the man who would go on to be Colone, “but it’s for Paramount Pictures and you have to audition and everything.”

Guastaferro didn’t mind the specter of an audition because “fighting for a role is part of what an actor is inured to.” It wasn’t until Guastaferro read the script, however, that he became excited for a “terrific role,” because he would be playing a cop with “a singular agenda,” itching to shoot somebody or something, who was “kind of the comic relief and the asshole all at once.”

McLoughlin loved Guastaferro’s take on the character, as would the fans. The rest, as they say, is history.

The overwhelming fan response to Deputy Rick from the Friday faithful was a bit foreign to Guastaferro at first. He wondered if some of the fans were a bit crazy, what with couples waking around conventions with two-year olds in strollers, others with his lines tattooed on body parts, and stories of 10-year olds watching with their parents. But the more exposure he had to horror aficionados, the more Guastaferro came to realize that it was all about the love of Jason Lives being handed down from generation-to-generation.

“I actually came to appreciate the fans and the fanaticism for these movies a little bit later because I just did [Jason Lives] as a movie and said ‘I hope it’s good,’ and it was good.” Guastaferro admits to being “a little prejudiced” when saying that he believes Part VI to be “the best of the whole franchise,” but legions of fans back up that assertion. “Look, I know people who are fanatic about this movie who are still under 10 years old, and I know people that are fanatics about this movie that are about 65 or 70 years old.”

That a horror flick filmed in Georgia three decades back has enjoyed an almost incomprehensible shelf life is humbling to Guastaferro.

“It’s been a privilege to be in a movie that has had this kind of recognition for this many years. People still email me and Facebook me and call me Rick and deputy, and they quote my lines. Pretty amazing to me.”

The affable New Jersey native is very humorous by nature, and wasted no time noting that one of those lines that gets quoted constantly has been more rewarding than the wife he got out of the production.

You read right.

Red dotGuastaferro had been dating Cynthia Kania, who along with Roger Rose was brought in to play Annette following principle photography to be double-skewered on a motor scooter to ensure McLoughlin reached the picture’s death quota. And when asked which ranked higher, landing the line or the spouse, Guastaferro didn’t hesitate.

“Ohhh, having one of the most memorable lines, I was gonna get that wife no matter what,” Guastaferro shot back. “I had met her a little earlier, and I had dated her, but definitely having the line. Are you kidding?! ‘Wherever the red dot goes, ya-bang!’ is something that I get in the mail, I get people sending me photos with that written on it, I had a woman in Vienna (Austria) show up at one of the horror cons I did over there, and she had that line tattooed on her fucking arm!”

“I think having the line is probably the most rewarding thing ever,” Guastaferro said. “I mean, I was watching Predator the other night, and I love the line (adopting an Ahnold accent) ‘If it bleeds, we can kill it.’ And I thought, ‘Yeah! I own one of those lines!’ I’m really happy to have that (laughs).”

It was a line Guastaferro came up with himself, exclaiming “Ya-bang!” when McLoughlin presented him with the hand cannon and scope that would be used in the cemetery scene, a benefit of the trust established through his previous project with McLoughlin. “Tom gave me a lot of leeway in there, and I invented some of the lines and improvised and he decided to keep them because he wanted the character to be revealed as partly a jerk, and funny.”

The line (and the decision to keep it) was inspired, because with the fans, all these decades later, the red dot still hits the target.

“I’ve been to conventions where people have asked me to write it on their ass, on their bald head with a permanent marker, on their cleavage. Girls would come in with crop tops on and have me write ‘Wherever the red dot goes, ya-bang!’ right across [the small of their back].”

For those scoring at home, Guastaferro and Kania were married a month after they wrapped on Jason Lives, but the legacy of “ya-bang!” isn’t lost on Guastaferro.

“I felt good every night knowing that the audience was leaving touched by what I did (on stage), but it’s nowhere near as rewarding as knowing that there are friggin’ five million people out there who were enamored of Friday the 13th,” Guastaferro reflected.

“Listen, every actor wants to know that what they did had some kind of impact on people,” Guastaferro said. After more than 50 films, 100 television appearances and extensive theatre performances, it hasn’t been the dramatic roles with social messages that have endured, but a horror film from 1986.

“It’s not deep, it’s not meaningful, it’s not about social cause or change, it’s entertainment. And that’s what Tom wanted it to be.”

Guastaferro referred to Jason Lives as “the king of my movies,” and continued, “I am so pleased, I’m so pleased. One of my proudest movies is Friday the 13th.

Ted White, who portrayed Jason in The Final Chapter, is apt to say “Always leave them wanting more,” a sentiment echoed by Guastaferro. “Smile and laugh, that’s what we want.”

It’s been 32 years since Deputy Rick Colone unholstered his sidearm. We’re still smiling, and still laughing.

Guastaferro