Death Game

A really twisted film where two psychotic young lesbians (Sondra Locke and Colleen Camp) turn a middle-aged man's life upside down when they invade his home and harass him while his wife and kids are out of town. This starts off very much like the ultimate male sexual fantasy at first, but ultimately turns into a demented nightmare.

Amidst all the ensuing mayhem and insanity, this could have used more sexual depravity and titillation to make it more effective. As it stands, these teenagers are more irritating than anything else. Yet this is still one bizarre experience and certainly a sight to see, at least once. I've never seen Sondra Locke show so much range, at least not in any of the movies I've seen her in up to this point. Colleen Camp has some good moments of lunacy.

I kind of liked that goofy theme song about "My Good Old Dad" which pops in and out during the course of the wackiness. And in my opinion, the ending is perfect.

It's a bad movie from the 70s about killer lesbian hippies taking on the establishment. Sort of like a "Thelma & Louise" without any feminism. Both painful and compelling, the film had tense and giddy, while also wishing it would just end.

And then the end came and I was utterly baffled and amused. The final 10 seconds of the movie over, I blurted over and over, "What the hell was that?" I backed up, watched it again.

Then I forced my girlfriend (who had not seen the movie) to watch it.

"That is pretty weird," she said.

Pretty weird? It makes no sense at all! Wow! If you enjoy odd, bad film, I think you'll love this movie. Even when it's at its worst, it's fun. There's the 1970's moustache "wakka-chikka" aspect. Then there's the campy screaming semi-naked young women. And then there's the goofy, straight-faced, comical horror movie aspect.

Given the ending, I assume the people making this film knew they were joking. They had to know. Or else they thought the ending was deep. I don't know. But I am forced to admit that I really, really enjoyed this film a lot.

It is 1975, and George Manning is a happily married man living in San Francisco. On his 40th birthday, a family emergency necessitates his wife Karen travelling to a different state, leaving George alone but for the wind and the rain. Or so he thinks, for fate brings him guests that night: two young ladies named Jackson and Donna, who say they're lost. After inviting them in to warm up and dry off, George and the ladies get to know each other better; and it becomes clear that they don't plan on leaving his home any time soon- whether he wants them there or not.

Directed by Peter S. Traynor from a screenplay by Anthony Overman and Michael Ronald Ross (as well as an uncredited Jo Heims) 'Death Game' is a camp comic-horror both entertaining and underwhelming. Exploitative and overblown, the film is a product of its time, reflecting the anxieties and fantasies of the post-Vietnam War period. Indeed, if one were to examine the film in the context of that conflict, one could say it shows how the illusion of security and order that many Americans had was shattered, how they became vulnerable and helpless in the face of an unpredictable, hostile enemy, and how they struggled to cope with the aftermath and consequences of a most violent encounter.

While this and other interesting ideas are raised- the warped reality of a male sexual fantasy, for one, or the indifference of fate and the effects of abuse on the psyche- the variety of themes in 'Death Game' are only ever really hinted at and never fully explored. The narrative doesn't break any new ground and features few surprises, unfolding in a linear and generic fashion, populated by scene after scene of mental and physical torture that leaves a grisly aftertaste. The abrupt ending of proceedings is also jarring, feeling rushed and completely out of left field in the face of the lengthy brutality that came before it.

Though tame when compared to modern films such as 'Hostel', which go all out on the gore and violence; 'Death Game' still disturbs and unnerves. The characters of Jackson and Donna are utterly unhinged, unpredictable creations, with no morals or empathy to speak of. Psychopathic and merciless, they are reflections of the fears the middle classes had of many in the hippie movement; of the Mansonesque types who stole into homes and left destruction in their wake. Though similar in ways to 'Straw Dogs' or 'The Last House on the Left' through its depiction of home invasion and violence; 'Death Game' differs with its tone and style, which are more humorous and exaggerated than realistically gritty.

David Worth's artsy cinematography creates an eerie, claustrophobic atmosphere, while he manifests dread and tension through his use of shadows, distorted angles and close-ups. Worth employs an array of creative techniques- such as double and triple exposures, slow motion and freeze frames- to enhance the macabre, nightmarish quality of the film, while his work as editor of the picture gives it a brisk pace and smooth flow. His work on 'Death Game' is one of its main strengths; elevating as it does the material from a simple exploitation flick to a stylish, visually striking psychological horror.

Jimmie Haskell's score also comes as a boon to proceedings in general, providing a fitting musical accompaniment to the film's mood and tone. Haskell composed two original tunes for 'Death Game': 'Good Old Dad', a cheerfully ironic song that plays during the opening credits, contrasting with the horror that follows; as well as 'We're Home', a haunting, melancholic song that plays during the closing credits, reflecting the aftermath of the ordeal. Memorable and stirring, Haskell's score adds to the film's atmosphere, enhancing its scenes of tension, violence and insanity.

Much like its narrative, the performances in 'Death Game' are a bit of a mixed bag. On the one hand, Sondra Locke and Colleen Camp are delightfully over-the-top as Jackson and Donna, delivering convincing, captivating portrayals of people completely enslaved by madness. They share an electric chemistry and keep you on the edge of your seat throughout. On the other hand, Seymour Cassell plays George as an exceedingly apathetic fellow, who lacks charisma and charm, ending up as nothing more than a plot device for the two ladies to play with. Allegedly, Cassell hated working under Traynor and refused to loop George's dialogue once filming wrapped- explaining why, in the final cut, it is David Worth you hear whenever George speaks. At any rate, Locke and Camp's exuberant performances make the film worthwhile; with or without Cassell's voice.

At the end of the day, Peter S. Traynor's 'Death Game' is a rather underwhelming effort, though it does have elements deserving of praise. Stars Sondra Locke and Colleen Camp make for a terrifying twosome, delivering energetic, unhinged performances that are highlights in both their filmographies, while the atmospheric score and David Worth's artistic cinematography are striking and unforgettable. Although the narrative doesn't come to much, contains few surprises and unfolds in a linear way, there are some memorable moments in 'Death Game.' It just might not be something you'd play again in a hurry.

This film essentially begins with a man by the name of "George Manning" (Seymour Cassel) saying goodbye to his wife "Karen Manning" (Beth Brickell) as she goes to visit their son living in another state. That night two young women named "Agatha Jackson" (Sondra Locke) and "Donna" (Colleen Camp) appear on his doorstep totally drenched due to a thunderstorm and asking to use the telephone. Being a good person George allows them inside and even gives them some food and dry clothes while they wait for a friend to come and pick them up. What George doesn't know is that these two women aren't nearly as sweet and innocent as they pretend to be and soon he will regret ever meeting them. Now rather than reveal any more I will just say that this film started off rather well but then things took a turn for the worse with one extended scene continuing for what seemed like an eternity--and it became quite tedious from that point on. That being said, I have rated this movie accordingly.

What to do when you're a happily married man but your beloved wife is out of town on the night of your fortieth birthday, yet two sexy young girls show up at your doorstep, literally throw themselves at you and invite you for a threesome in your own sauna? You kick them right back out on the street, of course! That'll teach them to interfere with a perfectly happy family! Well, that is what you should do in order to prevent guaranteed catastrophes to happen the next morning, but admittedly very few male individuals are likely to respond like this. Neither does the handsome George Manning in "Death Game", so he's stuck up with two obtrusive chicks in his house. Their behavior gets more psychotic with each hour that passes, until they even set up a fake trial against poor tied up George. "Death Game" is not a very good movie, but that's merely because there was too little money available for the execution and because Peter S. Traynor has no clue how to direct a suspense movie. The basic premise is quite unusual for a 70's exploitation movie (usually slavering hillbillies terrorize poor young girls instead of vice versa) and the whole concept is actually very much ahead of its time! Especially nowadays, the horror genre brings forward a lot of movies revolving on brutal home-invasions. People are subjected to fear and torture in their own houses and it's a very popular and money-making concept at the moment, like for example in "Funny Games" and "The Strangers", but this crazed little movie already did something similar in the 70's! The 40 first minutes of "Death Game" provide silly entertainment (Sondra Loncke at the breakfast table) and irresistible trashy goodness (that soundtrack!!), but unfortunately the second half of the film is incomprehensibly boring and unexciting. It shouldn't be, since the girls get more deranged and all, but it suddenly feels as if the writers' inspiration had vanished and only padding remained. There are still two fantastic highlights to experience near the end, though! One involves a pussycat (did you know glass windows aren't cat-proof?) and the other is a stupendously laugh-out-loud hysterical ending. Even a threesome wouldn't have such a fantastic climax! Now if you'll excuse me, I'm going to search for that awesomely catchy "Good Old Daddy" theme song on YouTube!