Hollywood 90028

I just saw this at the New Beverly Cinema in Los Angeles on a double bill with "Don't Go In the House". The print they showed had "TWISTED THROATS" as its title. I wonder how many times this film was released in theaters under various titles. The premise sounded promising, but turned out to be long and very dull --- full of non-stop rambling dialog and shots of people walking around slowly that went on and on forever and ever. This is no horror movie!!! It's basically "Maniac" without the gore or killings. There are some nice shots or early 70's Los Angeles --- especially when it shows old closed down strip clubs of yesteryear like The Pink Pussycat.

As teens in the mid to late 1970s, we often went to the drive-in for our weekend's entertainment, loaded with six packs (drinking age was 18 in Ohio for some beer). One night, we were pretty toasted and tired for the third movie on the bill called 'The Hollywood Hillside Strangler'. Somehow, I fought through the haze and noticed the peculiar artiness of this otherwise typical serial killer story. The characters were real, the dialogue was strong, although the atmosphere was on the dreamy side. Not David Lynch's Los Angeles, but I would discover that much later. I was really surprised that there was art in this exploitation flick and some years later searched for this film. Despite many resources, I couldn't identify it. I thought it was a Ray Dennis Steckler film, but no, not quite. Finally when I found this movie called "insanity' on the print I watched, I got the reward of seeing this drive-in classic again. The writing is still quite original and the direction, tone, and style all are wildly successful compared to other genre films in this budget range.

Trying to get his career started, a photographer hoping to leave the porn-world he shoots for a chance at legitimate work is confronted with a chance to change that when he finds a new potential girlfriend, but when it dawns on him that nothing is different tries to change everything.

This was a decent enough if somewhat flawed genre effort. Among the best attributes featured here is the strong setup that focuses on the gradual descent into insanity that triggers the rampage. While it may seem somewhat standard and formulaic in a more modern lens with the whole thing coming off as incredibly familiar with how it takes place, this one brings about the idea of the loner trying to make ends meet in a job he doesn't care about that slowly begins to take a toll on him psychologically. Embarrassed and put off by his work in the adult industry, his attempts at trying to advance beyond that are stymied when the work he wants isn't available to him due to his past which keeps him firmly entrenched in that universe. The extracurricular favors that go in and help enhance this feeling, from the backstory about his childhood growing up in a female-dominant family, the lack of affection from women in the industry, and the inability to connect with anyone all prove equally adept at getting the mindset across about who he is. While his motivation and background are established and somewhat understood, this part of the film is where things stumble quite a bit. The idea of this one leading to a frenetic finale that justifies his rampage is a fine touch. Yet, there's a rather tough time getting there with the whole thing interrupted by a maddeningly uninteresting storyline about the guy trying to find a partner with the model from the photoshoots but unable to come to terms sexually with her. With this all taking place as dates where they drive around the city, engage in endless monologues about their futures together, or visit random places in the city, it's interminably overlong until something happens to set him off on his final spree. This carries some nice weight to it in terms of how he manages to build to that potential mindset but it takes so long to get there all interest or care in the subject is missing even though this setup manages to provide one of the more striking and original finales here. It's the main thing that holds this one down.

Rated R: Language, Nudity, Violence, and sex scenes.

#293 Hollywood 90028 (AKA: Hollywood Hills Strangler) - 1973 (This Film Rates a B- ) The film starts off with pot smoking, hippies, nudity, foreplay, sex and murder by strangulation. It features Mark who is a freelance photographer and a ladies man. He moved from Indiana to Los Angeles seeking something more but ends up doing amateur porn, zoo animals and satanic bondage exploitation. Mark is sexually frustrated and not able to perform with women, this makes his compulsion to kill very high. Mark develops a friendship with Michele and tries to respect her non-committal boundaries because of her love for boyfriend Paul. Eventually Michele leaves Mark a voice message stating that she longer can see him because of her love for Paul and Marks ultimate unhappiness. The ending is predictable but suddenly punches you in the stomach though the second half of the film is somewhat slow moving. There are no gore effects, and the strangling sequences are nothing spectacular. The vintage 1970's set, scenery and soundtrack become a highlight for the film. There are some really great artistic moments especially Mark against the graffiti like street art. This all elevates the film to feel unique and artistic. The script and dialogue have above average moments and was mostly enjoyable. Overall, this film and its story line is raunchy, funny and dark but it could have been sleezier. Plus, that mustache.

Admittedly, I had some minor expectations for "Hollywood 90028", what with this being an ancestor of misogynist slashers like "Maniac" and "Don't Go in the House", and simultaneously being the work of a female writer/director. But the sad truth is that the film fully deserves its current obscurity status. The story of an ambitious cameraman not being able to find decent assignments in Hollywood, and his job of shooting sleazy adult movies driving him to strangle random women, certainly holds potential, but it's dull and amateurish beyond comparison. Some sequences, like the family-photos montage during the opening credits, indicate that director Christina Hornisher really had a tragic story to share, but she lacks the financial means - and the talent - to make it happen. The film is ugly to look at, poorly acted and edited even worse, and it's full of padding footage of the lead actor pointlessly driving around in LA's sleaziest red-light districts.