curse of the wraydons (1946) | dr. strangelove (1964) | monster of london city (1964) | fog (1969) | blade of the ripper (1970) | jack the mangler of london (1971) | the ruling class (1972) | terror in the wax museum (1973) | a knife for the ladies (1974) | ripper of notre dame (1981) | new york ripper (1981) | fear city (1984) | lulú de noche (1985) | night ripper (1986) | jack’s back (1988) | the willies (1991) | captive audience (1999) | jill the ripper (2000)
curse of the wraydons (1946)
false sighting
brief synopsis
In 1805—a full 73 years before Jack the Ripper’s bloody autumn—a series of killings takes place on the edge of the Epping Forest. Young Captain Jack Wraydon becomes falsely suspected. The true killer is the Chief of a group of traitors who are helping Napoleon launch an invasion of England. The audience knows the truth, but the question is whether police and military officials will learn it before they capture and hang the wrong man.
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The Curse of the Wraydons is clearly not a Ripper tale. It’s what I call a “False Sighting.” Spring-heeled Jack is often used as one of the many names for Jack the Ripper. In fact, I’ve seen Tod Slaughter’s wonderfully over-the-top character in this film referred to as “Jack the Ripper” in various sources. It turns out, though, that Spring-heeled Jack is another legendary—almost mythical—English criminal, known for his ability to leap at least 15 feet and thus escape authorities. Since the Ripper got clean away from the scenes of his crimes, the name “Spring-heeled Jack” has stuck to him, even though it did not originate with him.
Producers: Gilbert Church, J.C. Jones; Director: Victor M. Gover; Screenplay: Owen George (based upon the play Spring-Heeled Jack, or the Terror of London, by Maurice Sandoz); Cinematography: S.D. Onions; Editing: Victor M. Gover; Music: De Wolfe; Art Direction: Victor Hembrow; Makeup: Peggy Carly, H. Wright; Production Manager: John Rayner; Sound: K. Wiles
cast
Tod Slaughter (Philip Wraydon (The Chief)); Bruce Seton (Jack Wraydon); Andrew Laurence (George Heeningham); Alan Lawrance (Squire Sedgefield); Pearl Cameron (Rose Wraydon); Lorraine Clewes (Helen Sedgefield); Ben Williams (John Rickers); John E. Coyle (Dennis); Henry Caine (George Wraydon); Gabriel Toyne (Lieut. Payne); Daphne Arthur (Alice Maitland); Barry O’Neill (George Wraydon); Herbert Appleby; Joe Cunningham; Lionel Gadsen; Patricia Grant
dr. strangelove or: how i learned to stop worrying and love the bomb (1964)
false sighting
brief synopsis
General Jack D. Ripper sends planes to drop warheads on targets in Russia, threatening to set off the apocalypse.
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It’s no accident that the writers selected “Jack D. Ripper” as the name for the psychotic general who sets the earth’s nuclear apocalypse in motion. General Ripper’s problem – the depletion of his “precious bodily fluids” (clearly a euphenism for impotence) – is one of the many problems that have been ascribed to the Whitechapel murderer over the years. Many believe that Jack the Ripper either could get sexual satisfaction only in slaughtering women, or was an impotent man avenging himself on women for his inability to perform sexually. Gen. Jack D. Ripper similarly avenges himself on the Russians, and ultimately the world, for his own sexual impotence.
Producers: Stanley Kubrick, Victor Lyndon and Leon Minoff; Director: Stanley Kubrick; Screenplay: Peter George (novel: Red Alert, aka Two Hours to Doom), Stanley Kubrick, Terry Southern and Peter George; Cinematography: Gilbert Taylor; Editing: Anthony Harvey; Music: Laurie Johnson; Art Direction: Peter Murton; Production Design: Ken Adam; Makeup: Stuart Freeborn and Barbara Ritchie; Sound: John Aldred, Richard Bird, John Cox and Leslie Hodgson; Special Effects: Wally Veevers; Production Management: Clifton Brandon; Production Company: Hawk Films (distributed by Columbia Pictures)
cast
Peter Sellers (Group Capt. Lionel Mandrake/President Merkin Muffley/Dr. Strangelove); George C. Scott (General “Buck” Turgidson); Sterling Hayden (General Jack D. Ripper); Keenan Wynn (Colonel “Bat” Guano); Slim Pickens (Major T. J. “King” Kong); Peter Bull (Ambassador de Sadesky); James Earl Jones (Lieutenant Lothar Zogg); Tracy Reed (Miss Scott); Jack Creley (Mr. Staines); Frank Berry (Lieutenant H. R. Dietrich); Robert O’Neil (Admiral Randolph); Glen Beck (Lieutenant W. D. Kivel); Roy Stephens (Frank); Shane Rimmer (Captain G. A. “Ace” Owens); Hal Galili (Burpelson Defense Team Member); Paul Tamarin (Lieutenant B. Goldberg); Laurence Herder (Burpelson Defense Team Member); Gordon Tanner (General Faceman); John McCarthy (Burpelson Defense Team Member)
monster of london city (1964)
copycat
brief synopsis
When a series of Ripper-like killings erupts in London, the police suspect actor Richard Sand because the murders so strongly resemble those he enacts every night in his play on Jack the Ripper. To complicate matters, the guardian of the woman Sand loves also wants the actor to stop seeing his niece… a woman loved by Sand’s best friend.
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The Monster of London City was doubled-billed with The Phantom of Soho and co-written by Bryan Edgar Wallace, son of crime-thriller novelist Edgar Wallace (whose script “The Beast” was eventually turned in to King Kong). Wallace had apprenticed as a film editor at British Lion, and later took advantage of West Germany’s post-war interest in crime-thrillers – scripting several such films for CCC. Most of these involved looks into the underworld. The Monster of London City is perhaps more interesting for its “ahead-of-the-curve” use of drug addiction and syphilis as plot elements than for its rather derivative Ripper plot.
types
Investigation Rippers: Everybody in this film seems to get into the investigation of a series of Ripper copycat killings. A legislator’s niece, an actor, a young couple, and even the police all try to track down the killer.
The Lodger Motif: Mad Avenger. A Ripper copycat murders streetwalkers in an attempt to frame the actor friend who has stolen the heart of the woman he loves.
Producer: Artur Branek; Director: Edwin Zbonek; Screenplay: Robert A. Stemmle and Bryan Edgar Wallace; Cinematography: Siegfried Hold; Editing: Walter Wischniewsky; Music: Martin Böttcher; Production Designers: Hans Jürgen Kiebach and Ernst Schomer; Production Manager: Heinz Willeg; Assistant Director: Lucie Berndsen; English Scenario: Elsa Motta; English Dubbing: Les Film Jacques Willemetz; Production Company: CCC Filmkunst GmbH [de]
cast
Hansjörg Felmy (Richard Sand); Marianne Koch (Ann); Hans Nielsen (Dorne); Dietmar Schönherr (Dr. Morely Greely); Fritz Tillmann (Sir George); Walter Pfeil (Horrlick); Chariklia Baxevanos (Betty Ball); Peer Schmidt (Teddy Flynn); Kurd Pieritz (Maylor); Elsa Wagner
fog (1969)
(tv: the avengers. bbc airdate: march 12, 1969; abc airdate: February 17, 1969)
copycat
brief synopsis
A Ripper-like killer attacks the members of a Disarmament Committee in a fog-beshrouded London.
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Really weird stuff. This episode takes place in a foggy, atomospheric London complete with Victorian cobble-stone streets, hansom cabs, and flower girls. Yet Steed and even the killer drive automobiles; everyone uses telephones; and it’s clearly some 80 years since the crimes of the 1888 murder spree of the “Gaslight Ghoul.” The effect is similar to those anachronistic Universal Frankenstein movies, which have 20th century contraptions and medieval villagers side-by-side. It also seems something of a warmup for producer Brian Clemens’ later Dr. Jekyll and Sister Hyde.
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Investigation Rippers: Well, obviously, the crux of any Avengers episode is investigation. In this case, Tara King and John Steed have the chore of investigating a club of men who dress alike, in the beard and attire of a criminal from Victorian times.
Director: John Hough; Teleplay: Jeremy Burnham
cast
Patrick McNee (John Steed); Linda Thorson (Tara King); Nigel Green (Sir Geoffrey Armstrong); Guy Rolfe (Mark Travers); Patrick Newell (Mother); Terence Brady (Carstairs); Paul Whitsun-Jones (Sanders); David Lodge (Maskell); Norman Chappell (Fowler)
blade of the ripper (1970)
(a.k.a. Lo Strano Vizio della Signora Wardh; The Next Victim!; Next!; La Perversa señora Ward; The Strange Vice of Mrs. Wardh)
faux ripper
brief synopsis
A razor-killing sex fiend is on the loose, slaughtering women in Vienna. The American ambassador’s wife begins to believe that he’s targeting her when she receives a blackmail call and two of her friends get slashed. Double-surprise ending caps this one off.
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A classic example of a “Faux Ripper.” The Italian title means “The Strange Vice of Mrs. Ward” and the film has more to do with kinky sex than with Jack. “Ripper” was clearly inserted into the UK/US title mainly in order to drum up English-speaking business.
In addition to its status as a Faux Ripper, Blade of the Ripper is a badly-made Italian giallo film, but it’s hard to determine exactly who is to blame for the problems. Is the film badly photographed or just badly transferred? Is the plot sketchy or was a lot cut out of the American dubbed version? Is the acting really that bad or is the problem only with the voice actors? And who’s responsible for that terrible dialogue… the Italian screenwriters or the American distributor? Let’s just say that under current conditions, this giallo is more likely to put audiences to sleep than to keep them engaged in figuring out who the killer is. It would be interesting, though, to see a pristine, uncut print on DVD… in Italian with subtitles. Said print would answer all the questions asked above. (One film historian friend, who has seen such a print, claims that the film is as bad in Italian as it is in English).
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Eurotrash and Anglo Decadence: Blade of the Ripper is a somewhat kinky movie with a knife murderer on the loose. Boring and confusing.
Producers: Antonio Crescenzi, Luciano Martino; Director: Sergio Martino; Screenplay: Vittorio Caronia, Ernesto Gastald, Eduardo Manzanos Brochero (also story); Cinematography: Miguel Fernández Mila, Emilio Forscot; Editing: Eugenio Alabiso; Music: Nora Orlandi; Art Director: José Luis Galicia, Jaime Pérez Cubero; Makeup: Mario Di Salvio; Production Managers: Franco Fogagnolo, Lamberto Palmieri; Assistant Directors: Vittorio Caronia, Francisco Rodriguez ; Sound Department: Pietro Ortolani; Costume Design: Riccardo Domenici; Production Companies: Copercines Coopertiva Cinematográfica (Spain), Devon Film (Italy), Laurie International, MLR
cast
George Hilton (George); Edwige Fenech (Julie Wardh); Cristina Airoldi (Carol Baxa); Manuel Gil; Carolo Alighiero; Ivan Rassimov (Jean); Alberto de Mendoza (Neil Wardh); Bruno Corazzari (Killer); Marella Corbi; Mighel Del Castillo; Luis de Tejada; Brizio Montinaro; Puchi; Mira Vidotti
jack the mangler of london (1971)
(a.k.a. jack el destripador de londres; jack the ripper; jack the ripper of london; sette cadaveri per scotland yard)
copycat
brief synopsis
After his prostitute wife becomes the second victim in a series of Ripper-like killings in 1970s Soho, a disabled trapeze artist comes under suspicion among both the police and the underworld. The suspicion seems particularly warranted after he is found in a room with the body of another victim. Meanwhile, a young psychology professor whose wife was once wooed by the chief investigator on the case encourages his friend to pursue the trapeze artist. The body count – and body part count – goes higher as the trapeze artist tries to clear himself and find his own wife’s killer.
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Jack the Mangler of London is a pivotal film. It is the first gore-oriented Ripper copycat committed to the screen. Nevertheless, it hedges its bets: it wants its killings as gory as Jack’s, but it sanitizes the gore by showing dismemberment rather than disemboweling. Presenting a fake-looking severed hand or head is far less likely to make the audience retch than presenting a realistic-looking kidney would be. Hollywood Ripper has no problem, of course, with the film’s being far less graphic than Jack was. But we do find it curious that Jack the Mangler tries so hard to show gore, yet lacks the courage or conviction to go all the way. Meanwhile, Mario Bava was 6 years past the much more intense Blood and Black Lace and was filming the Ur-slasher film Twitch of the Death Nerve.
types
Eurotrash and Anglo Decadence: Eurotrash horror, with Paul Naschy playing a potential murderer rather than a werewolf or other supernatural monster.
Investigation Rippers: Here’s a little twist on the theme. The man accused of a series of Ripper-like killings escapes police and local hoods in order to investigate the crimes himself.
The Lodger Motif: Mad Avenger. Ripper copycat targets prostitutes in anger at his own impotence. This is a variation on one of the earliest Ripper theories… i.e. that the killer was getting vengeance on prostitutes out of anger over having contracted syphilis.
Producer: Jim Delavena (a.k.a. José Luis Madrid); Director: José Luis Madrid; Screenplay: Tito Carpi (also story), Sandro Continenza, José Luis Madrid (also story), and Jacinto Molina (a.k.a. Paul Naschy); Cinematography: Diego Úbeda; Music: Piero Piccioni; Production Companies: Cinefilms (Spain) and International Apollo Films (Italy)
cast
Franco Borelli; Víctor Iregua; Patricia Loran; Renzo Marignano; Rensso Marinano; Irene Mir; Paul Naschy (Bruno); Andrew Reese; Orquídea de Santis
the ruling class (1972)
copycat
brief synopsis
On the… er… untimately death of his father Jack Gurney, the 14th Earl of Gurney emerges from an insane asylum to become Lord of the manor. Jack scandalizes his relatives by believing he is Jesus Christ, and what’s worse by preaching constantly about love. They try talking sense to him. They try to have him seduced. Nothing works until they hire a lunatic to convince Jack that God is a god of hate, not of love. True, after this instance Jack does begin to refer to himself by his Christian name. But what his relatives don’t know is that all his seeingly “normal” spouting off about draconian justice is really an outgrowth of a new, and malignant, psychotic delusion. In the end, society sees Jack as “normal,” but he isn’t even present in the modern world. He’s back somewhere roaming the streets of 19th century Whitechapel.
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British social satires typically love to take aims at the foibles of the nobility, and this satire is no exception. Peter O’Toole gives a fine performance as Jack, a role which requires him to shift from playing a psychotic obsessed with love to a psychotic obsessed with hate. He also gets to do a bit of singing and dancing along the way. Some of the early “Jesus satire” gets a bit tiresome, but the latter half, where “Jesus” shifts to “Jack,” is perfectly chilling. O’Toole not only has the skills, but he has the face, to pull it off. This film occupies a rather unique position in the cinema of Jack the Ripper, and it is definitely worth a look.
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Comic Rippers: The Ripper segment in this film is more chilling than funny, but it’s used at the service of political satire.
Producer: Jules Buck, Jack Hawkins; Director: Peter Medak; Screenplay: Peter Barnes (also play); Cinematography: Ken Hodges; Editing: Ray Lovejoy; Music: John Cameron; Makeup: Charles E. Parker; Production Manager: Tim Hampton; Sound Department: Gerry Humphreys; Special Effects: Roy Whybrow; Production Design: Peter Murton; Costume Design: Ruth Myers; Choreographer: Elanor Fazan; Production Companies: AVCO Embassy Pictures (U.S.), Keep Films
cast
Peter O’Toole (Jack Arnold Alexander Tancred Gurney, 14th Early of Gurney); Alastair Sim (Bishop Lampton); Arthur Lowe (Daniel Tucker); Harry Andrews (13th Early of Gurney); Coral Browne (Lady Claire Gurney); Michael Bryant (Dr. Herder); Nigel Green (McKyle); William Mervyn (Sir Charles Gurney); Carolyn Seymour (Grace Shelley); James Villiers (Dinsdale); Hugh Burden (Matthew Peake); Graham Crowden (Truscott); Kay Walsh (Mrs. Piggot-Jones); Patsy Byrne (Mrs. Treadwell); Joan Cooper (Nurse Brice); James Grout (Inspector Brockett); James Hazeldine (Fraser); Hugh Owens (Toastmaster); Griffith Davies (Inmate); Henry Woolf (Inmate); Oliver MacGreevy (Inmate); Neil Kennedy (Dr. Herder’s Assistant); Llewellyn Rees (Lord); Cyril Appleton (McKyle’s Assistant); Ronald Adam (Lord); Declan Mulholland (Poacher); Kenneth Benda (Lord Chancellor) Leslie Schofield (McKyle’s Assistant); Julian D’Albie (Lord); Margaret Lacey (uncredited)
terror in the wax museum (1973)
copycat
brief synopsis
The murder of a Wax Museum proprietor and some other strange goings-on in the vicinity prompt a police invstigator to determine whether the killer is one of the principles who wants to own this piece of property, whether Jack the Ripper has returned to killing after a hiatus of ten years, or whether a wax statue or two has come to life.
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Whoever could have thought that a film with John Carradine, Elsa Lanchester, Ray Milland, and Broderick Crawford in it could be this dreary? The only highlight is the pub next door and its kind-hearted waitress, who can even sing.
types
Investigation Rippers: Lots of police work, mixed in with police romance.
Period Atmosphere: Not a great film, but it does do a fine job with presenting life in lower-class London about 10 years after the Ripper killings. Good job with the pub.
Rippers in the Wax Museum: Some characters believe that wax statues are coming to life and committing murders.
Producers: Andrew J. Fenady, Charles A. Pratt (executive producer) ; Director: George Fenady; Screenplay: James Brewer, Andrew J. Fenady (story); Cinematography: William B. Jurgensen; Editing: Melvin Shapiro; Music: George Duning; Production Design: Stan Jolley; Set Decoration: Carl Biddiscombe; Assistant Directors: Floyd Joyer, Lee Rafner; Sound Department: David Dockendorf, David M. Ronne; Production Company: Andrew J. Fenady Productions, Bing Crosby Productions
cast
Ray Milland (Harry Flexner); Elsa Lanchester (Julia Hawthorn); Maurice Evans (Inspector Daniels); John Carradine (Claude Dupree); Mark W. Edwards (Sergeant Michael Hawks); Louis Hayward (Tim Fowley); Patric Knowles (Mr. Southgott); Lisa lu (Madame Yang); Steven Marlo (Karkov); Shani Wallis (Laurie Nell); Broderick Crawford (Amos Burns); Ben Wright (First Constable); Mathilda Calnan (First Charwoman); Peggy Stewart (Second Charwoman); Leslie Thompson (Constable Parker); Don Herbert (Jack the Ripper); Judy Wetmore (Lizzie Borden); Jo Williamson (Mrs. Borden); George Farina (Bluebeard); Diana Wahrman (Girl in Red); Rosa Huerta (Lucretia Borgia); Paul Wilson (Ivan the Terrible); Ralph Cunningham (Willie Grossman); Don Williamson (Constable Henry Bolt); Evelyn Reynolds (Flower Woman); Nicole Shelby (Meg Collins); Sandy Helberg (News Boy, uncredited), Rickie Weir (Marie Antoinette)
a knife for the ladies (1974)
(a.k.a. jack the ripper goes west; silent sentence)
faux ripper
brief synopsis
A city detective meets resistance from the Sheriff when he investigates a series of brutal knife killings in a small desert town. But as they close in on their suspect, the Sheriff gains respect for the city boy’s methods.
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Despite the alternate title (Jack the Ripper Goes West), the Ripper is never actually mentioned in this Faux Ripper film, and there is no suggestion that any of the characters has ever visited London. Still, the killings do bear resemblance to Jack’s handiwork, the plot relies on one of the standard Ripper revenge motifs, and even syphilis gets more than a passing nod. The film, incidentally, is probably more a “male bonding movie” than anything else.
types
The Lodger Motif: Mad Avenger. A Faux Ripper influenced by a standard Ripper motivation. Ripper-like killer targets prostitutes in order to avenge her son’s acquisition of syphilis from a prostitute.
Producers: Stan Jolley and Larry G. Spangler; Director: Larry G. Spangler; Screenplay: George Arthur Bloom (story by Seton I. Miller and Robert Shelton); Production Design: Stan Jolley; Assistant Director: Ray Marsh; Production Company: Bryanston Pictures
cast
Jack Elam (Jarrod (Sheriff)); Ruth Roman (Elizabeth); Jeff Cooper (Burns); John Kellogg (Hollyfield); Gene Evans (Hooker); Diana Ewing (Jenny); Jon Spangler (Seth); Derek Sanderson (Lute); Peter Athas (Travis); Phillip Avenetti (Ramon); Fred Biletnikoff (Horace); Al Hassan (Riley); Pat Herrerra (Nina); Hank Kendrich (Fairchild); Kit Kendrich (Cora); Rob Lien (J. B. Mullin); Greg Little (Amon); Deen Pettinger (2nd Rider); Richard Schaal (Ainalls); Bud Stout (Driver); Norm Tempas (1st Rider); Brooke Tucker (Myra); Jean Wall (Lettie)
ripper of notre dame (1981)
(a.k.a. el sádico de notre-dame; demoniac; erxorcism and black masses; exorcisme; exorcisms; sexorcismes; l’Éventreur de notre-dame; the sadist of notre dame)
faux ripper
brief synopsis
A defrocked Catholic priest kills women he believes to be sexually active in an effort to save their souls.
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An unusual Faux Ripper by Jess Franco. Even though most of the alternative titles have nothing to do with the Ripper, this film plays much more successfully off of Ripper themes than Franco’s earlier period film on Jack the Ripper does. That film just tried to exploit the sex and violence of the Ripper crimes. This film, on the other hand, presents us with a killer who is motivated by a perverse hyper-morality. And that notion comes to us straight out of The Lodger. Franco’s acting, incidentally, shows more range and pathos than Klaus Kinski’s acting does in Franco’s Jack the Ripper.
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Eurotrash and Anglo Decadence: Directed by Jess Franco, a well-known Eurotrash director. In addition to the many alternative titles to this film, the film has a variety of different cuts, featuring more, or less, graphic sex and violence. The version which Franco claims to be definitive is the one called Ripper of Notre Dame, in which graphic violence and sex are toned down quite a bit in order to get an “R” rating.
Lodger Motif: Monomaniac. A Faux Ripper influenced by a standard Ripper motivation. Ripper-like killer possesses religious monomania and believes that he can “save” women he perceives as evil only by killing them.
Director: Jesus Franco; Screenplay: Jesus Franco (also story); Cinematography: Raymond Heil; Music: Daniel White; Production Company: Cetelci S.A. (Belgium), Joaquín Domínguez Riesgo (Tritón P.C.) (Spain), Eurociné (France), Gold Internacional Films (Spain)
cast
Lina Romay (Anna); Catherine Lafferière; Lynn Monteil; Jesus Franco (Mathis Vogel); Pierre Taylou (Ramond Franval); Roger Germanes (Malou, Tanner’s Assistant); Monica Swinn (Maria, the Count’s Sadistic Partner); France Nicolas (The Countess); Sam Marée (David Carter); Francois Guillaume; Carole Rivière (Gina, the Nightclub Girl); Philippe Lebrun; Olivier Mathot (Inspector Tanner); Richard Bigotini (The Count’s Butler, uncredited); Calude Boisson (Bidouille, the Poacher); Antonio de Cabo; Maria Forlan; Raymond Hardy (Hotel Receptionist, uncredited); Nadine Pascal, Claude Sendron (The Count, uncredited)
new york ripper (1981)
(a.k.a. lo squartatore di new york; psycho ripper; the ripper)
faux ripper
brief synopsis
A vicious and sadistic killer roams New York, taunting the police in a Duck voice as he goes.
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Stylish, sleazy, and excessively violent, this Faux Ripper giallo film by Lucio Fulci is nevertheless one of the more successful “Ripper” movies of the decade. Best-known for its infamous eyeball-slitting scene (and co-written by one of the writers for Cannibal Holocaust), this film is not for the squeamish.
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Eurotrash and Anglo Decadence: Classic Eurotrash Fulci giallo.
Investigation Rippers: Tons of police work in this film. In fact, the film’s primary focus is on the police investigation into the murders.
Producer: Fabrizio De Angelis; Director: Lucio Fulci; Screenplay: Giancfranco Clerici, Lucio Fulci, Vincenzo Mannino, Dardano Sacchetti; Cinematography: Luigi Kuveiller; Editing: Vincenzo Tomassi; Music: Francesco De Masi; Production Design: Massimo Lentini; Art Department: Roberto Pace, Rodolfo Ruzza, Fabio Traversari; Makeup: Germano Natali, Luigi Rocchetti, Manlio Rocchetti, Maurizio Trani, Franco Digirolamo; Production Manager: Paolo Gargano, Fabrizio de Martino; Assistant Director: Marisa Agostini, Roberto Giandalia; Sound Department: Eros Giustini, Bruno Moreal; Stunt Coordinator: Nazzareno Cardinali; Hair Stylist: Rosa Luciani; Production Company: Fulvia Film
cast
Jack Hedley (Lieutenant Fred Williams); Almanta Suska (Fay Majors, as Almanta Keller); Howard Ross (Mickey Scellenda); Andrea Occhipinti (Peter Bunch, as Andrew Painter); Alexandra Delli Colli (Jane Forrester Lodge); Paolo Malco (Dr. Paul Davis); Cinzia de Ponti (Rosie, ferry victim); Cosimo Cinieri (Dr. Lodge, as Laurence Welles); Daniela Doria (Kitty, the prostitute); Babette New (Mrs. Weissburger); Zora Kerova (Eva, sex show performer); Paul E. Guskin (Desk Sergeant); Antone Pagan (Santos, as Anthon Kagan); Josh Cruze (Morales); Marsha MacBride (Police Woman); Rita Silva (Scellenda’s Landlady); Giordano Falzoni (Dr. Barry Jones, Coroner); Lucio Fulci (Chief of Police); Barbara Cupisti (Heather); Martin Sorrentino (Police Detective); Violetta Jean (Hospital Nurse); Cesare Di Vito (Red Volkswagon Owner); Elisa Cervi (Hooker); Chiara Ferrari (Susy Bunch); Michele Soavi (Newspaper Buyer, uncredited)
fear city (1984)
(a.k.a. border, ripper)
faux ripper
brief synopsis
Fear City features Tom Berenger as Matt Rossi, a former boxer who now works as an “enforcer” for a stripper agency. When a moralistic killer starts attacking his girls, Rossi debates whether to go after him.
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Director Abel Ferrara has seen better days than in this sorry mess. Is this Rocky? Is this The Godfather? Or is this a Ripper movie? This Faux Ripper film just can’t decide.
types
Eurotrash and Anglo Decadence: Lots of violence, with a focus on the seedy underworld of strippers.
Lodger Motif: Monomaniac. In this film, we find a Faux Ripper influenced by a standard Ripper motivation. The killer targets strippers in an attempt to “purify” humanity so that it can rise to a higher level.
Producer: Bruce Cohn Curtis, Jerry Tokofsky, Tom Curtis (executive producer), Stanley R. Zupnik (executive producer); Director: Abel Ferrara; Screenplay: Nicholas St. John; Cinematography: James Lemmo; Editing: Jack W. Holmes, Anthony Redman; Music: Dick Halligan; Production Design: Vincent M. Cresciman; Set Decoration: Cricket Rowland; Art Department: Michael “Mickey” Beltran, David L. Glazer, Janet Kusnick, Robin L. Miller, Arthur Riddle; Makeup: Francesca Maxwell, Michael R. Thomas; Production Manager: Michael Fottrell, Mary Kane, Charles Newirth; Assistant Director: Peter Manoogian, Debbie Pinthus; Sound Department: Terry Lynn Allen, George H. Anderson, John Duffy, Scott Hecker, Don MacDougall, John L. Mack, Anthony Milch, Mark P. Stoeckinger, James M. Tanenbaum, Richard Tyler; Visual Effects: Benedict Coulter; Hair Stylist: Bruce Johnson; Production Company: Rebecca Productions, Zupnik-Curtis Enterprises
cast
Tom Berenger (Matt Rossi); Billy Dee Williams (Wheeler); Jack Scalia (Nicky); Melanie Griffith (Loretta); Rossano Brazzi (Carmine); Rae Dawn Chong (Leila); Joe Santos (Frank); Michael V. Gazzo (Mike); Jan Murray (Goldstein); Janet Julian (Ruby); Daniel Faraldo (Sanchez); Maria Conchita Alonso (Silver); Ola Ray (Honey); John Foster (Pazzo) Emilia Crow (Bibi, as Emilia Lesniak); Nina Jones (Dixie); Frank Ronzio (Harry); Juan Fernández (Jorge); Jim Boeke (Architect); Vinny Argiro (Bruno); Carl Strano (Priest); Ben Kronen (Club Announcer); Madison Mason (Leila’s Doctor); Bill Henderson (Nicky’s Doctor); Victor Rivers (Jimmy); Joe Palese (Tony); Joe Shea (Salvi); Bob Yothers (Sergeant); John Roselius (Rossi’s Manager); Tracy Griffith (Sandra Cook); Lori Eastside (Goldy’s Girl); Sharon Anton (Frank’s Girlfriend)
lulú de noche (1985)
false sighting
brief synopsis
Paraphrased from the Blockbuster website:
When a stage producer tries to cast the role of Jack the Ripper in his upcoming production of Lulu, he casts a man who has too much in common with his own conception of the fiend. Casting the seductress has even more drawbacks, and pretty soon he finds himself in the middle of a romantic comedy… with a murder and film noir thrown into the mix.
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This film got one Goya nomination (the Spanish Oscar), yet it is amazingly obscure by today’s standards. What is even stranger is that the film itself was made during the video era, yet it is apparently not available on video. Nevertheless, the film is said to have merit and looks like it would be a funny take on Lulu and Jack the Ripper, sort of from a Kiss Me Kate perspective.
types
Lulu Motif: This film is apparently a takeoff on Lulu, and also on the notion that playing the Ripper is reserved for authentic psychos.
Producer: Emilio Martínez Lázaro, Fernando Trueba; Director: Emilio Martínez Lázaro; Cinematography: Juan Amorós; Editing: Nieves Martín; Music: Ángel Muñoz Alonso; Production Company: Fernando Trueba, Producciones Cinematográficas, S.A. (Spain), Kaplan, S.A. (Spain)
cast
Antonio Resines (Germain); Imanol Arias (Rufo); Amparo Muñoz (Nena); Assumpta Serna (Amelia); Patricia Adriani (Lola); Pilar Marco; Asunción Balaguer; El Gran Wyoming; Fernando Vivanco
night ripper (1986)
faux ripper
brief synopsis
In this Rippervid, a killer targest models, as a photographer tries to save the model he loves.
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This Direct-To-Video Faux Ripper is so bad it’s almost good. It has many of the “qualities” we think of when we hear words like “Plan 9 from Outer Space”: corpses’ eyes open after hitting the ground, and leading actors speak in monotones. Larry Thomas (Seinfeld’s notorious “Soup Nazi”) at least delivers a decent performance. Great fun.
types
The Lodger Motif: Mad Avenger. A Faux Ripper influenced by a standard Ripper motivation. Ripper-like killer targets victims out of a sense of rage at the model who threw the killer over.
Director: Jeff Hathcock; Distribution: International Video, Magnum Video
cast
James Hansen, April Audia, Larry Thomas
jack’s back (1988)
copycat
brief synopsis
During the Ripper centenary, a series of copycat Ripper killings breaks out in Los Angeles. When a young doctor apparently commits suicide, he is thought to be the Ripper. But his twin brother investigates the crimes in an effort to clear his brother’s name and bring the true killer to justice.
comment
This is a better-than-average Ripper copycat film…particularly for the pathetic 80s. The acting and production values are good all around. Spader does well in the two roles – one of which is rather menacing.
types
Investigation Rippers: Though police suspicion rests on surviving twin Rick Westford, Rick investigates the crimes on his own and out-investigates the police.
Producer: Andre Blay, Cassian Elwes, Elliott Kastmer, Tim Moore; Director: Rowdy Herrington; Screenplay: Rowdy Herrington; Cinematography: Shelly Johnson; Editing: Harry B. Miller III; Music: Danny Di Paola; Production Design: Piers Plowden; Set Decoration: Deborah Evans; Art Department: Michael Gastaldo; Makeup: Karoly Balazs, Barbara Wolfe; Production Manager: Mary McLaglen; Assistant Director: Richard W. Abramitis, Steve Hirsen, Ellen Rauch; Sound Department: Robert J. Anderson, Jr., John Hays; Special Effects: John Naulin; Hair Stylist: Barbara Wolfe; Production Company: Palissades Entertainment
cast
James Spader (John/Rick Westford); Cynthia Gibb (Chris Moscari); Jim Haynie (Sergeant Gabriel); Robert Picardo (Doctor Carlos Battera); Rod Loomis (Dr. Sidney Tannerson); Rex Ryon (Jack Pendler); Chris Mulkey (Scott Morofsky); Wendell Wright (Captain Walter Prentis); John Wesley (Sam Hilliard); Bobby Hosea (Tom Dellerton); Danitza Kingsley (Denise Johnson); Anne Betancourt (Mary); Diane Erickson (Andrea Banks); Sis Greenspon (Martha); Graham Timbes (Surgeon); Mario Machado (Anchorman); Paul Du Pratt (Collin Marsh); Rana Ford (Emily Miller); Daniela Petr (Sister); Shawne Rowe (Helen); Kevin Glover (Neil Finchley); John Harrison (Chooch, as John Sutherland); Cassian Elwes (Pimp #1); Spencer Clarke (Pimp #2); Pola Del Mar (Mrs. Battera); Kathryn O’Reilly (Hooker); Brian “Fats” Bender (Fatman); Richard Parker (Reporter); Cindy Guyer (Neighbor); Frances Fleming (911 Operator)
the willies (1991)
false sightings
brief synopsis
This collection of adolescent campfire-type tales features a haunted house Ripper in an early cameo – in the context of an urban legend.
comment
Not much to comment on. This qualifies as a “False Sighting” since the Riper’s name appears in the credits. In actual fact, the real Ripper is nowhere to be found in this film.
types
Comic Rippers: This film is a male adolescent horror movie with comic elements. The Ripper segment is extremely brief and not exceptionally funny, but the film is okay.
Producer: Talaat Captan (executive producer), Gary DePew, Brad Southwick; Director: Brian Peck; Screenplay: Brian Peck; Editing: James Eaton; Music: Randy Miller, Peter Tomaschek, David Feinman, Kassra Nassiri; Production Design: Michael Perry; Assistant Director: David Avallone; Special Effects: Kenny Myers; Production Company: Force Majeure Productions Inc.
cast
Sean Astin (Michael); Jason Horst (Kyle); Joshua John Miller (Josh); James Karen (Jenkins/Uncle Harry); Marilyn Pitzer (Chicken Lady); Evan Arnold (Counter Guy); Dana Ashbrook (Tough Dude); Kathy MacQuarrie (Tough Chick); Bill Erwin (Old Man); Douglas Benson (Zombie); Marie Wright-Perry (Tart); Bob Zamudio (The Ripper/Fly #2); Gary DePew (Sea Captain Ghoul); Tim Edwards (Mr. Death Ghoul); Ken Daly (Farmer Ghoul/Pest Control Guy)
captive audience (1999)
false sighting
brief synopsis
Late-night DJ “Jack the Ripper” gets held hostage at gunpoint during what was supposed to be just a routine night on the radio.
comment
Classic “false sighting.” The DJ calls himself “Jack the Ripper,” but he’s apparently not the real psycho in this piece. This film, incidentally, has never appeared on video, but it has won a number of awards at film festivals. More information is available at the film company’s website: http://www.corporatesucker.com/capaud.html
Producers: Kurt St. Thomas, Mike Gioscia; Executive Producers: Kurt St. Thomas, Mike Gioscia, Kat Corbett; Directors: Mike Gioscia, Kurt St. Thomas; Screenplay Mike Gioscia; Director of Photography: Scott Crawford; Music Tony Morales; Editor David Fisher; Sound Editor: Mike Gioscia; Set Dressers: Kurt St. Thomas, Megan Rawa; Costumer: Buckley; Wardrobe Supervisor: Dennis Parales; Makeup Artist: Ariyela Wald-Cohain; Casting Megan Rawa; Production Company: Corporate Sucker Films, LLC
cast
Mike Gioscia (Dave); Kat Corbett (Julie Reno); Michael Kevin Walker (Jack The Ripper); Daniel Haas (Howard Engalls); Rick Poli (Officer Dick Barker); Kurt St. Thomas (Officer Tom Kresge); Megan Rawa (Roni Clarke); David Fisher (Butch the camera man); Adrian Healy (Jack’s Father); Linda Twiss (Jack’s Mother); Dan Bienert (Mr. Hebert); Sandra Dawson (Dancer); Julie Kramer (101X Disc Jockey); Megan Rawa (Radio Reporter); Josh Pitt (99 Rock Announcer); Chris Kennedy (Phone Caller #1); Greg Wymer (Phone Caller #2); Henry Santoro (Phone Caller #3); Colleen Witmer (Phone Caller #4); Mark Demos (Phone Caller #5); Monica Mylod (Phone Caller #6); T. Ed. Nugent (Phone Caller #7); Peir Eckersley (Phone Caller #8)
jill the ripper (2000)
faux ripper
brief synopsis
An alcoholic ex-cop unofficially investigates the brutal murder of his brother. Much to his surprise, the killer is not a rival contractor, but a very angry dominatrix who has a grudge against men who like their sex kinky. The press, naturally, terms her a “female Jack the Ripper.”
comment
The entire cast does a fine job with the acting in this B-movie crime drama. Dolph Lundgren’s performance, in fact, is quite a revelation. The script, however, has problems. It’s not always easy to follow the cognitive leaps the characters make as they move from one point of the investigation to another. And the ending (which argues, essentially, that it’s quite alright for a woman to sexually mutilate anonymous men if the woman has been previously abused by other men) is reprehensible.
types
Eurotrash and Anglo Decadence: This film delves into the sleazy S&M underworld.
Producer: ; Director: Anthony Hickox; Screenplay: Kevin Bernhardt, Gareth Wardell, Frederic Lindsay (novel); Cinematography: David Pelletier; Editing: Brett Hedlund; Music: Thomas Barquee, Steve Gurevitch; Production Design: Tim Boyd; Art Direction: Andrew Hull ; Assistant Director: Kerric Macdonald; Sound Department: Scott C. Kolden, Peter Clements, Joel E. Smith; Special Effects: Jeff Skochko; Costume Design: Judith England; Production Company: Annex Entertainment, Franchise Pictures (United States); Phoenician Entertainment (United States), Ripped Productions, Inc.
cast
Dolph Lundgren (Matt Sorenson); Danielle Brett (Irene); Richard Fitzpatrick (Eddie); Krisi Angus (Frances); Charles Seixas (“Big Jim” Conway); Sandi Ross (Mary); Greg Ellwand (Peerse); Susan Kottman (Mrs. Sorenson); Victor Pedtrchenko (Joe Jujavia); Kylie Bax (Serena); Bruce McFee (Officer Bob); Kathryn Albertson (Mrs. Reed); Dave Nichols (Coroner); Diane Douglass (Katz)
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