Welcome to Arrow Beach

I honestly wouldn't go as far as to call "Welcome to Arrow Beach" a good film, not nearly in fact, but it's definitely an intriguing and bizarrely compelling mess! This film features the themes and plot aspects of a typically sick-spirited and coarse exploitation flick of the early 70s, but at the same time it has the cast and the musical guidance (Lou Rawls!) of a more sophisticated and ambitious melodrama. The supportive cast is already impressive, with names like Joanna Pettet and John Ireland, while the lead actor/director Laurence Harvey even briefly was a respectable A-listed actor who appeared in blockbusters like "The Manchurian Candidate" and "The Alamo". For some incomprehensible reason, Laurence Harvey decided – shortly before his untimely death due to stomach cancer – to direct himself depicting a dangerously disturbed Korean War veteran who lures gullible girls into the fancy beach house that he shares with his sister, but only with the intention to hack 'em up in the basement and EAT them! We slowly (… VERY slowly…), through incomplete and obscure flashbacks, learn that Harvey's character Jason Henry got forced to revert to cannibalism during the war in order to survive, which evidently left him severely traumatized and mentally unstable for life. The main problem with "Welcome to Arrow Beach", apart from the at times intolerably slow pacing, is that practically nothing happens and that the horror of it all almost exclusively relies on suggestion. We never see Jason Henry consume human flesh and there are only two short and rather vague sequences in which he waves around a meat cleaver and pulls the face of a genuine madman. The other 98% of the film's footage revolves around the naive but lush hippie girl Robbin Stanley (played by a young Meg Foster who only just recently had a glorious supportive role in Rob Zombie's "31") who consecutively survives a wicked hitch-hike with a crazed hot rod driver, narrowly escapes from Henry's slaughter basement, gets called a liar by the police and then flees with a hunky doctor's assistant. Then there's also the completely irrelevant and dull sub plot of the local Sheriff who runs a campaign in order to get re-elected… There are a few isolated moments of suspense, mainly accomplished by Harvey himself thanks to his intense performance, and the fairly brutish massacre of a depressed middle-aged prostitute is the film's dubious highlight.

Looking over other viewer comments, I feel like I missed some significant footage -- sad, because I saw this as a candidate film for the National Film Registry. My experience was that the cannibalism wasn't even broached -- "hinted at" is a smaller and more fitting description. I started out with the understanding that the film deals with this topic, so it was easy for me to find the theme in the disjointed images that Harvey (allegedly from his deathbed) pieced together. However, in the edit that I saw, Harvey really only approached the subject during the dinner scene, which to the uninformed viewer, leaves Jason Henry coming off only as a rather perverse murderer.

As a red-toned color film, it kept with the 70s feel, especially with the Lou Rawls theme song that really seems not to fit at all, and it's definitely the sort of film that you can settle into on a Saturday afternoon.

For the most part, I felt that it was a shaky effort that obviously suffers from the (unavoidable) lack of directorial input in the final stages.

Despite this, the one incredibly positive thing I have to say is that Harvey did succeed in creating one impacting, chilling, flawless scene in a movie of otherwise so-so acting. Harvey is the perennial director, and this is never so evident as when he plays Jason Henry behind a camera. The moments just prior and after this are really unspectacular, but in the few seconds that the viewer is looking at the visage of Harvey, peering from behind the camera with diabolical intent, I was completely stunned and frightened, not because Harvey belonged in the psyche of a killer, but because the killer belonged behind the camera -- Harvey's character became more real, more insidious because the character encompassed a real person. Not a better case for method acting exists, I would venture.

Played this Tuesday on a double bill with Re-Animator. Introduced by Johnny Legend, there in the flesh, with that guy who runs one of the memorabilia stores on Hollywood blvd. They said it would probably never be shown again, ever. It's not on vhs or dvd. There is only one print.

A scene where an aging model is put out of her misery is amazing. Lots of splatter and a shock of a final scene that is very Ed Gein. The story is a bit goofy, but good at the same time. See it if you can. Oh, wait, you can't. Well there has got to be a way.

Hilarious title song by Lou Rawls (can someone be a sport and let me know the name of it?) and some tasty nude scenes can't overcome a real muddled film. Sure it's explained that Harvey has a "taste for cannibalism" but where is the rationale behind it? We see a brief flashback scene of Harvey leaving a vintage-Korean war airplane along with a messed up looking crew of overacting teenagers (and Harvey doesn't look any younger than he is in the "present" day scenes -- check out the sideburns) but what exactly happened there? Perhaps the Dutch version has more footage? Also, what about the Stuart Whitman subplot? He was all hot to find out the truth but that sort of faded away. A real mess ... can't believe Harvey checked out with this as the last bit of work on his resume...

Harvey's last film (in which he reportedly help edit by phone in his deathbed) is a twisted would be horror film that Warner Bros barely released. (it played in Seattle many years later in one drive-in as TENDER FLESH released by Brut). Harvey plays a Korean war vet who ate human flesh to survive in the jungle, but now he has a sickness and not even his sister (who's also his lover) Pettet can stop. Meg Foster plays a hitchhiker that he befriends, who witnesses him doing something evil in the basement and she might be his next victim. Interesting cast (whitman and Ireland together again for the 4th time), and lurid feel that the film has. Lou Rawls sings the main theme, which is a nice song, but really has nothing to do witht he film! There's a blooper in the end credit as you see cars drive backwards. I don't know why Harvey, a respected actor would direct a B horror film, but I read many stories on him being strange, so the story must have grabbed him. Use to be a cable classic in the old days, and played very heavily cut on TV with cut out the cannibal angle so the film is very confusing, as the TV version just makes him out to be a killer, and nothing more. I believe it is the first major studio film to deal with cannibalism.