Trilogy Of Terror

MOVIE DESCRIPTION:

In this made-for-TV horror showcase, Karen Black plays four separate roles in three successive tales written or based on the works of venerable genre writer Richard Matheson. In "Julie," Black portrays a prim college literature instructor who engages in a debauched affair with one of her students after he drugs, date-rapes, and blackmails her into submission; here and in the other stories, however, things aren't what they seem. "Millicent and Therese" features the actress in two roles as good sister/bad sister twins who use witchcraft to settle their sexual and moral differences. In the final and most famous segment, "Amelia," Black plays a spinster with an insufferable mother who sublets a high-rise apartment in the city in order to find romantic freedom. When she purchases a Zuni fetish warrior doll as a present for her anthropology-professor beau, it comes to life and chases her around the flat with considerable tenacity. A failed pilot for a horror anthology series, Trilogy of Terror first appeared on ABC in 1975 and subsequently gained a devoted cult following. Black originally didn't want to participate, but agreed after her husband, Robert Burton, was cast in the role of the date-raping blackmailer. Although the actress has appeared in numerous subsequent horror films, it was her indelible quadruple roles here that inspired cult New York rockers the Voluptuous Horror of Karen Black. The film also allegedly inspired the 1984 horror-blaxploitation flick Black Devil Doll From Hell. A belated sequel, Trilogy of Terror 2, also from former Dark Shadows director Dan Curtis, followed in 1996. ~ Brian J. Dillard, Rovi

DVD FEATURES:

• Region: All
• Number of Discs: 1
• Subtitle: Eng
• Aspect Ratio: 1.33:1 (Pre-1954 Standard)
• Audio: DDM2.0
• Features:
  • Commentary with Karen Black and writer William F. Nolan
  • "Richard Matheson: Terror Scribe" featurette
  • "Three Colors Black" featurette

ADDITIONAL INFORMATION:

• Cast:

  
       George Gaynes - Dr. Chester Ramsey

• Director:

  Dan Curtis

• Producer:

  Dan Curtis

• Screenwriter:

  William F. Nolan, Richard Matheson

• Book Author:

  Richard Matheson

• Cinematographer:

  Paul Lohmann

• Composer (Music Score):

  Robert Cobert

• Editor:

  Les Green

• Production Designer:

  Jan Scott

• Art Director:

  Jan Scott

• Associate Producer:

  Robert Singer

• Costume Designer:

  Barbara Siebert-Boticoff

• Set Decorator:

  Leonard A. Mazzola

• Makeup:

  Michael Westmore

• Special Effects:

  Richard Albain

• First Assistant Director:

  Art Levinson

• Production Manager:

  Robert J. Koster

• Casting:

  Gail Melnick

• Production Sound Mixer:

  James Pilcher

• Hair Styles:

  Kathryn Blondell

• Costumes Supervisor:

  John S. Perry

REVIEW:

• As much a camp classic as Beyond the Valley of the Dolls, this horror anthology paved the way for actress Karen Black's precipitous '80s and '90s career decline and terrified an entire generation of TV kids with the devilish antics of the Zuni fetish warrior doll -- certainly the most hilarious/horrific bit of puppetry ever to grace either the silver or small screen. Yet only the final ten minutes of this flick feature the diminutive African warrior. The more lasting pleasure is Black's simultaneously genius and goofy acting and the exploitation thrills of the thematically interlocking story lines. It's easy to dismiss the first and second segments, both written by William F. Nolan, and praise the third, written by Richard Matheson, veteran of countless horror novels and Twilight Zone episodes. Yet all three stories are based on Matheson's work, and they all play with virgin/whore archetypes in ways that allow Black to make good use of her early training in exploitation films. With impossible cheekbones and pouty lips that anticipated the exaggerated glamour of comic actress Jennifer Coolidge, Black's got sin written all over her face. Yet she spends most of Trilogy of Terror hiding behind a succession of glasses, severe hairstyles, and schoolmarm clothing. That makes it all the more campily wondrous when she does get to break out of her sexual shackles: for the implied gang-bang and gothic degradation of "Julie"; for the blue eye shadow flirtatiousness and bewigged vamping of "Millicent and Therese"; and for the shockeroo finale of the incomparable "Amelia," which finds Black borrowing a gesture or two from her pal, the Zuni fetish doll. The little warrior himself became a permanent horror icon, but the image of Black literally becoming the doll both proved her considerable acting chops and destroyed any chance that she'd ever be taken seriously again. That's quite an accomplishment for a TV movie. ~ Brian J. Dillard, Rovi