Fango Flashback: The Comeback
Provocative, grim, shocking and extremely anti-establishment in their outlook, British director Pete Walker’s “terror” films were always controversial—perhaps due to their frequent representation of an unsavory, seedy underbelly of a British society governed by hypocrisy.
With his previous movies, notably House of Whipcord, Frightmare and House of Mortal Sin (a.k.a. The Confessional), Walker had actively worked to subvert typically British institutions (such as class, family and the legal system) and outrage as many people as he possibly could by presenting cannibalistic pensioners, murderous priests and private prisons controlled by sadistic wardens.
1978’s The Comeback (a.k.a. The Day The Screaming Stopped), however, unfolds as a somewhat more conventional offering, and was seen as a deliberate move to reach a more mainstream audience.
Head over to Fangoria (!) to check out my full article...
With his previous movies, notably House of Whipcord, Frightmare and House of Mortal Sin (a.k.a. The Confessional), Walker had actively worked to subvert typically British institutions (such as class, family and the legal system) and outrage as many people as he possibly could by presenting cannibalistic pensioners, murderous priests and private prisons controlled by sadistic wardens.
1978’s The Comeback (a.k.a. The Day The Screaming Stopped), however, unfolds as a somewhat more conventional offering, and was seen as a deliberate move to reach a more mainstream audience.
Head over to Fangoria (!) to check out my full article...
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