The Flesh And Blood Show
The Flesh and Blood Show was released theatrically in the United Kingdom on 23 September 1972 by Tigon Films. The film's ending was originally filmed and shown in cinemas in 3-D. The film opened theatrically in the United States on 13 July 1973 in Boston, Massachusetts.
The Flesh and Blood Show
The cast are variable to say the least. Robin Askwith plays a bland character who just stands around and reacts to the unfurling drama like a guppy fish on tranquilizers (a million miles away from his cheeky chappy persona in the CONFESSIONS films) - he also turned up as more slasher fodder in the more entertaining TOWER OF EVIL from the same year (and gave his best horror turn in the hugely enjoyable (and bonkers!) 70s Brit genre piece, HORROR HOSPITAL (1973)). Jenny Hanley, who plays the rising starlet Julia who has strange recollections of the theatre, is certainly a beauty who I'm surprised didn't go on to to do more. And, like other Brits of my age, it's always odd to hear the dulcet tones of Ray Brooks (here playing the play's director), who provided the voice for one of the shows from way, way back in my childhood, Mr Ben.
Ultimately, THE FLESH AND BLOOD SHOW delivers on some of its promise. Whilst the blood is in short supply, there's acres of flesh on display (mostly female, although there is some brief full frontal male nudity). However, whilst it is of interest a proto-slasher, its sorely missing the wondrously sinister presence of Sheila Keith (old lady menace extraordinnaire), who added some arch and deliciously dark campness to some of his later movies. So, if you're new to Walker's macabre world I'd suggest you bypass this until you've enjoyed some of his more ghoulishly entertaining tales from the mid-70s.
English stalk-and-slash action, with a bunch of nubile and often inexplicably bare-chested young actresses being picked off one by one by a mysterious figure in a seaside theatre. The flesh outweighs the blood in this show, so it kind of resembles a 70's sex film than a horror at times, but if you like English girls with plummy accents and their tits out, check out The Flesh and Blood Show.
This seaside slasher is set in an abandoned theatre where a group of young actors are rehearsing an improv show before moving it to London's West End. Naturally, deaths and disappearances begin to occur creating a bit of mystery for the characters and viewers alike.
A troupe of actors rehearsing an improv piece at a dingy, abandoned seaside theater are being picked off one by one by an unknown assailant! The first of Pete Walkers run of 70s slasher movies is much more fixated on the 'flesh' portion of the title, Walker knew his audience, the 1972 grindhouse denizens wanted skin, skin, and more skin, and this sleazefest doesn't disappoint! In a stellar line-up of early 70s Brit totty, including Hammer veteran Jenny Hanley, voluptuous Luan Peters and gorgeous Candace Glendenning, not even the presence of a phantom killer dissuades the lovely ladies from disrobing at every opportunity, God bless them! And the actual film? It's terrible, one of Walker's worst, and feels longer than its 96 minutes runtime.. but there's boobs, lots of boobs...
Billed as "An Appalling Amalgam of Carnage and Carnality," Pete Walker's THE FLESH AND BLOOD SHOW is an homage to the blood-splattered, sex-smeared theatre known as the Grand Guignol. Still haunted by an especially tragic production of Othello, a seaside theatre reopens its doors as a groovy musical revue, only to have several of its performers fall victim to the deadly curse.
Film Show flesh and blood of 1972 is the first horror film career Director Pete Walker, who had previously worked in the field of comedies and melodramas. Despite mentioned in the picture theme magic theatre and creative madness, Show flesh and blood is a typical thrash horror, abundantly scenes of violence and erotic pictures taken by the operator Peter Jason quite impressive and taking into account the stylistics grindhouse.
A three-dimensional examination of blood vessels is provided using MR data from seven cases. The vascular surfaces are constructed with an algorithm that automatically follows the selected artery or vein and generates a projected three-dimensional gradient shaded image. Fast 3DFT pulse sequences were optimized to enhance the time-of-flight contrast of the intravascular region. By increasing the surface threshold value in a three-dimensional head study, the flesh of a patient's face was peeled away to demonstrate the superfacial temporal artery. Gated cardiac images show the great vessels and cardiac chambers. A three-dimensional view of the aorta shows an irregular surface in the vicinity of an adrenal tumor. 3D MR exams provide a non-invasive technique for assessing vascular morphology in a clinical setting.