Beast of the Yellow Night

Beast of the Yellow Night features a hideous man-monster that tears its victims to shreds, but the real horror is a semi-naked Vic Diaz. The rotund Filipino actor appears at the beginning of the film as Satan wearing nothing but a loincloth (my eyes!), promising dying army deserter Joseph Langdon (John Ashley) immortality if he agrees to become a servant of evil. Unperturbed by Vic's lack of clothing, Joseph agrees and is 'reborn' in several bodies over the years, his mission to awaken the evil in the people that he meets. Langdon's latest guise is that of facially disfigured accident victim Philip Rogers, who, having been pronounced dead, amazes everyone by coming back to life with a brand new face (his doctor is so shocked that he promptly has a heart attack).

Phil's sexy blonde wife Julia (Mary Charlotte Wilcox) takes her hubby home but notices that he now behaves rather strangely. But it's not just his personality that has changed: from time to time, Phil/Langdon physically transforms into a horrible bloodthirsty creature with rubber claws and great big jaws.

The first of producer Roger Corman's movies to be shot in the Philippines during the '70s, this clunker from director Eddie Romero is frequently confusing (what Satan has to gain from turning his servant into a killer beast is never explained) and pretty dull for the most part, even when Ashley is in monster mode. There are a couple of brief gory moments (a disembowelment and some slashed faces), and Wilcox sheds her clothes (or her body double does--it's hard to tell), but for the most part the film is painfully slow, especially when the creature is given refuge by an old, blind bandit (an idea lifted from Frankenstein?). The ending sees the monster and the blind man trapped by the army in a burning field of grass, Phil/Langdon finally shot and killed even though he was bullet-proof only moments earlier.

"A man is saved from certain death by selling his soul to the devil, who charges him with recruiting others to his evil cause. As part of his terms for relinquishing control of his soul to Satan, the man is cursed to endure transformation into a hideous creature and stalk his victims by night. The local authorities want to find and destroy this murderous creature before it can take another victim, while the man looks to find a way to end his cursed existence," according to the DVD sleeve's synopsis.

Filmed in the Philippines, with director Eddie Romero. It's difficult to completely understand the story; approximately, it's Faust becoming the Werewolf with a touch of Frankenstein, after a time warp.

It's more interesting, at this point, to assess the career of star John Ashley. When he mysteriously appears in the present, doctors remove bandages from Mr. Ashley's said to be horribly disfigured face. Instead, a bearded Ashley looks better in 1971 than ever (in films since the 1950s). Ashley's characterization (as Joseph Langdon aka Philip Rogers) isn't terrific, but it's valiant; probably, his career lacked worth material. Vic Diaz (as Death aka Satan) is entertaining, in the tastiest role. And, Mary Wilcox (as Julia Rogers) is the blonde dish Ashley samples.

Vic Diaz as the almost comedic Satan lends this Filippino horror film an eccentric flavour that saves it from total oblivion. Ashley isn't bad either as a damned murderer, inhabiting the body of an American businessman, forced by Satan to endure of life of evil, but when guilt gets the better of him, Satan resorts to dirty tricks in order to compel him to serve. The transformation he undergoes to that of a hairy beast with super-human strength causes the local police to suspect they have something out of the ordinary with which to contend.

Ashley plays the tortured soul well enough for the film's limited scope, and he's ably assisted by the statuesque beauty Mary Wilcox as his neglected, but loyal wife. Wilcox has a few risqué scenes in modest attire (although sometimes also clad in a zebra outfit), but it's debatable as to whether that's indeed her in the bizarrely photographed love-making scene. Fans will also recognise the prolific Eddie Garcia as a detective (he also directed), and American Ken Metcalfe ("Up From the Depths") in a minor supporting role playing Ashley's concerned brother.

There's not much horror, and what there is can often be too dark to discern, but the film does improve after a slow start at least achieving mediocre status, including the witty banter of Diaz's omnipotence, and equally, moronic dialogue from the sultry Wilcox. There's a couple of twists (e.g. the banished blind man with whom Ashley forms an alliance) that generate some interest and the climax in the tall grass lends some sympathy to Ashley's condemned character, but don't expect too much for your time.

After recently finding a copy of this on DVD, I brought it home and was amazed to find this was everything I was looking for and a whole lot more. Filmed in the Philippines and directed by Eddie Romero, I was horrified/enlightened by its blasphemous blend of cannibalism, comedy, and deals with the devil gone bad. John Ashley is excellent as one of the most frightening, gruesome, and demented-looking monsters I've ever seen. Entertaining as can be. For me, the only thing scarier than this movie is the fact that I almost never got to see it! Great flick!

This is one of John Ashley's better Pilipino exploitation films.

Surprisingly, the director and the writer are the same Eddie Romero (1924-2013), who initially used the screen name "Enrique Moreno."

Filmed in Premiere Studios, Caloocan City, Metro Manila, Philippines.

We are what we eat. It is a beastly movie with a soft porn touch. John Ashley makes a deal with the devil (Vic Diaz) to serve and munch.

On the production side, there is too dark of a filter. Stilted dialog not wooden. This is not worth suffering through other than an example of Ashley's repertoire. The Devil is in the details.