The Headless Eyes

Basement grindhouse fare, not as gory as it's reputed featuring an unhinged performance by Bo Brundin as the tortured artist who loses an eye, but discovers a new art form.

Frustrated artists always seem to be fodder for film psychopathy, and 'The Headless Eyes' continues that trend in earnest, assisted by a compelling title no doubt responsible for much of its appeal (that and as other reviewers have remarked, the graphic VHS cover art).

Gritty-looking guerilla-style location photography and some almost avant garde touches in Kent Bateman's directorial debut shows potential, but the novel plot device disappointingly never evolves into more than a just a few random stalk & slash encounters. I'd hoped the art student sub-plot late in the picture might resurrect things, but it looks like the $$$ may have evaporated and instead the film ends quite abruptly.

The incessant shrieking of 'my eye!' will live-on in your consciousness well beyond the meagre 70 mins runtime, an enduring accomplishment few films achieve, but unless you're a devotee of no-budget 70's slashers, I think you could feel underwhelmed by 'The Headless Eyes'.

"The Headless Eyes" follows a struggling New York artist who loses his eye in a botched robbery attempt; consequently, he develops a bizarre obsession with eyeballs, and goes on a brutal murder spree, killing women and tearing out their eyes with spoons.

Written and directed Kent Bateman, "The Headless Eyes" is a gritty and gruesome exploitation flick that was an ostensible inspiration on later New York-based films like "The Driller Killer" and "Maniac"; it's two parts grindhouse filth and one part art-house horror. The film features an over-the-top performance by Swedish actor Bo Brundin, who leads a very small cast through a scuzzy New York City just after the dawn of the 1970s. It's an interesting film merely as a time capsule, and also functions as a dark meditation on poverty and hopelessness.

The film boasts a handful of surprisingly savage murder scenes and expected eye gougings; in spite of some hammy special effects, the scenes retain a disturbing grit to them that is unexpectedly palpable and disturbing. The narrative is relatively aimless and frenetic; there is little in the way of plot, and the film does feel something like a stitched-together patchwork of gore and half-baked ideas; that said, the messiness gives the film a somewhat disconcerting, schizophrenic energy, and the relative lack of dialogue is another unusual feature. The ending is abrupt and uneven, but it's difficult to expect anything else.

Overall, "The Headless Eyes" is a fairly gruesome but aimless exploitation effort. The skeletal plot and hammy performances don't necessarily work in its favor, but it does retain a bizarre and disturbed energy that makes it worth a watch for die-hard grindhouse horror fans. It's certainly not a good film, but it is tonally scuzzy and forbidding. It's the kind of film that triggers the urge to take a hot bath after viewing, which, depending on your proclivities, will either elicit interest or turn you away. 6/10.

Whoa! This low-budget experiment in horror was directed by me, Kent Bateman, and with few funds, we did the best we could. Obviously, it wasn't fitted with enough blood and gore for the distributor, so the producer, Ron Sullivan, added some scenes. I only wish to make a comment on the assertion of a reviewer who erroneously referred to me, Kent Bateman, as aka Henri Pachard. Mr. Ron Sullivan, the producer of the film, aka Henri Pachard, producer of over 300 porno films, took my director's cut and added footage I never wrote or directed. This is just to set the record straight. Kent Bateman is not HENRI PACHARD. Please refer to my own IMDb listing. If you go to Henri Pachard's IMDb listing, you will see that he doesn't even list Headless Eyes as one of his films.

A thieving artist has his eye gouged out by a spoon when trying to rob a woman's apartment. This nutter then goes round New York killing women whose eyeballs he removes, which he uses to create a new bit of artwork back in his studio.

The Headless Eyes is pretty much an example of grind-house exploitation fodder. It's a very rough and ready flick with minimal production values. But then I guess you would expect that for a grade Z movie. However, it does at least make some attempt at being dare I say it, artistic. There are occasional interesting shots, while the music fits with the feel quite well. It has a pretty scuzzy atmosphere overall and is another that utilises the very mean streets of 70's New York to decent effect. It's a clear precursor to Abel Ferrara's very similar movie The Driller Killer which came out a few years later. Unlike that one, The Headless Eyes never did make the video nasty list, which in some ways is surprising seeing as it was available in a striking video cover on home video in early 80's Britain and it also has considerably more mean spirited violence than many films that made up that list. That said it's not exactly impressive. Quite a lot of the time it's pretty terrible in fact, especially that opening looped use of the line 'My eye! My eye!' But the griminess and rough approach do sort of work in its favour some of the time, giving it a sleazy feel that's in keeping with its overall concept.

My review was written in March 1983 after a Greenwich Village screening.

"The Headless Eyes" is a 1971 gore thriller so obscure that no credits or details about it are listed in comprehensive horror encyclopedias. It is reviewed here, finally, for the record.

Set in New York, picture opens with lead Bo Brundin robbing a woman in her apartment to raise his rent money (he's a struggling artist). Defending herself with a teaspoon, the victim pokes his eye out, setting of Brundin's grisly mania of killing women and gouging out their eyes with a spoon of his own.

Generically related to the familiar mad sculptor/wax museum films, story has Brundin creating plastic artwork incorporating the eyes. Plentiful blood and adequately simulated gore account for the picture's X rating, awarded by the MPA A in 1973.

Technical quality is extremely poor, with a grainy blowup from 16mm lensing.

Director Kent Bateman did an about-face by helming the G-rated "Land of No Return" starring Mel Torme. "Eyes" is interesting for the earnest overacting of Brundin, who later moved up to a leading role opposite Robert Redford in "The Great Waldo Pepper".