The Happiness Cage

Think back to when you first saw Christopher Walken and Ronnie Cox in a feature film. Did you know the two actors co-starred in a low-budget production in 1972 called The Mind Snatchers in the early phase of their careers? 1976 was the year when Walken first captured my attention in two small supporting roles; the first being Paul Mazursky’s semi-autographical drama Next Stop, Greenwich Village, where he played an aspiring actor. In the second film, a supernatural horror thriller called The Sentinel, he played a cop. He followed these with an even more memorable supporting role in Woody Allen’s Annie Hall (1977) as the strangely morbid brother of the title character. Ronnie Cox, on the other hand, made a haunting and unforgettable impression as the doomed Drew in Deliverance (1972), John Boorman’s critically acclaimed adaptation of the James Dickey novel. But both Walken and Cox are dynamic together in a movie that premiered before all of the above films yet remains a mostly unseen obscurity because of its sporadic distribution under various titles.

Initially released as The Happiness Cage in 1972 and then retitled The Mind Snatchers, this offbeat psychological drama never found an audience due to a confusing marketing campaign that seemed uncertain whether the movie was a sci-fi thriller, a horror film, an exploitation flick or an art house oddity. It also didn’t help that the movie was released in some markets as Brain Control and in others as The Demon Within. The director, Bernard Girard, was not well known to moviegoers despite a 20-year career of working mostly in television. Plus, the two leading players, Walken and Cox, were practically unknown at the time.

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If You Go Down in the Woods Today, You’re in for a Big Surprise

When the film version of James Dickey’s 1970 novel Deliverance, directed by John Boorman, first appeared in 1972, it was perceived as a new kind of survival tale, one in which suburban men were confronted with the primeval forces of nature and completely traumatized by the experience. While it was mostly a character-driven adventure story, it had nightmarish elements that could easily classify it as a horror film yet it had a much broader appeal than a niche genre item. Nevertheless, some filmmakers took Dickey’s basic premise of some city folks venturing into unknown rural territory and turned it into a horror film template. Some of the more infamous titles are Wes Craven’s cult favorite The Hills Have Eyes (1977), Mother’s Day (1980), a sick black comedy from Troma Entertainment, Just Before Dawn (1981), directed by Jeff Lieberman (Squirm, Blue Sunshine) and The Final Terror (1983) featuring Daryl Hannah and Rachel Ward in early roles. My favorite though is the lesser known 1977 Canadian film Rituals (aka The Creeper), which comes close to generating the kind of white-knuckle tension that defined Deliverance while adding a number of gruesome horror tropes that make it consistently creepy and harrowing.

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