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The behind 60’s…a time of rebellion, psychedelic rock ‘n’ roll, free like, and day trippin’ with the aid of mind bending, consciousness altering narcotics. To quote Timothy Leary, counterculture icon of the time, “We are now in the psycho, chemical age. In the future it’s not going to be what book you read, but what chemical do you exercise to initiate your mind to run learning.” But what of the wrong effects? Oh, we were warned…Jack Webb did so on a weekly (or weakly, if you’re so inclined) basis on TV’s Dragnet. Even Wavy Gravy warned us to avoid the brown acid. Sometimes we found out where it was at wasn’t where it was really at, if you fetch my drift.
Blue Sunshine (1976) tells a memoir that involves the physical and psychological do of a particular kind of drug many years after its’ initial expend. The film starts out at a party, a precise groovy happening, that soon evolves into a massacre as a guy, who looks a lot like actor John Cryer but isn’t, becomes unglued and goes on a psychotic killing spree. Jerry Zipkin, played by Zalman King, who was at the party, soon finds himself in the site of being falsely accused of the crimes and on the accelerate from the police.
Jerry, unable to fathom why his friend went completely bonkers and killed those people and then attacked him, is searching for answers in a desperate attempt to not only distinct his name, but also learn exactly what happened. As Jerry delves deeper and deeper into the mystery, more original killings occur. The nature of the attackers is similar, legal down to definite physical characteristics, alopecia (a loss of hair), glassy-eyed examine, well-kept human strength, and homicidal tendencies. It’s soon found that all the people who went schizoid have a favorite denominator in that they all attended the same university at the same time and all have a link to a politician currently running for congress. Will Jerry learn the meaning of Blue Sunshine before any more killings consume spot, and before the police assume him?
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Blue Sunshine, written and directed by Jeff Lieberman, does have Hitchcockian elements with the whole `falsely accused man trying to sure his name’ theme, but also adds alarm elements, giving the film a nice slant and a sense of originality. Lieberman also wrote and directed the creepy crawler Squirm (1976), a anxiety pic about flesh-eating earthworms. Blue Sunshine also stars Deborah Winters as Jerry’s girlfriend Alicia Sweeney, Sign Goddard, who many, including myself, remember as Major Don West in the 60’s television sci-fi indicate Lost in Station, as politician Edward Flemming, and character actor Charles Siebert as Detective Clay. Siebert’s name may not ring any bells, but if you’ve watched television in the 70’s, you will most likely see his face as he appeared on explain like All in the Family, The Rockford Files, Police Woman, Barnaby Jones, Grand Times, and a slew of others.
While the film does gain some residence holes, they are easy to overlook, especially as the yarn tends to disappear attractive speedily, and the instances where the psychosis sets in, causing various individuals to lose it and go on a murderous rampage are exceptionally creepy. This is especially honest of the scene with the woman babysitting the two, highly annoying children and her chasing them around with a enormous knife. Surprisingly, there is very minute gore interested, distinguished less than I had expected. Zalman King’s performance is fairly unique and discordant, along with the delivery of a lot of his dialogue. It’s hard to record, but I had the feeling he seemed always honest of out sync with the film, creating a bizarre element that would normally work against a report, but here, it seemed to complement the region as it unraveled. The film did seem to slay rather abruptly, hinting at the chilling concept that the instances of violence may only be the tip of the iceberg, so to narrate.
The film, which has been out of circulation on home video for about a decade, looks really smart and distinct in this anamorphic wide conceal (1:78:1) release. Some very minor speckling and damaged to the print is evident, but one of the special features shows a comparison to the current print and this cleaned up print, exhibiting the fantastic restorative work done, supervised by the director himself, on the film for this release, which entailed about 17 hours of intensive labor. Other special features include a original Dolby Digital created especially for home video environments, the modern mono soundtrack, a rotund commentary by director Jeff Lieberman, an recent short film directed by Lieberman, a detached gallery, the novel theatrical trailer for the film, comprehensive liner notes, and a 30 itsy-bitsy video interview with the director. This is a two disc spot, with the film and special features on the first disc, the second disc being a never before released recent sound track CD. All in all, an agreeable release of a creepy, rarely seen film that looks at the possible residual effects of the free adore generation.
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Cookieman108
Most of the film reviews I’ve read of “Blue Sunshine” knock it to no extinguish, citing “poor acting”, an “absurd situation”, et al. That’s bull. This movie has the angsty flavor of a Hitchcock film with some time period-commentary thrown in. The mood of surreality and displacement is wonderful.
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Admittedly, not all of it makes sense, but I hardly consider that’s a viable complaint considering the intention mainstream movies usually deal with dwelling. The film starts out innocently enough, with a group of (worn college buddies) having a party. When a particularly goofy, Frank Sinatra looking character bends over to kiss someone else’s girlfriend, he is accosted and his hair is pulled off. We ogle that he is completely bald, and his eyes bug out of their sockets. This a really chilling scene. He then proceeds to go completely bonzo and massacre his friends, looking like a character from Planet 9 From Outer Status on acid (no pun intended) . The hero of the film chases him and he is bustle over by a truck. From here, things initiate to win really, really trippy.
Perhaps the most truly scary scene is when our hero is trying to procure to the bottom of the “Blue Sunshine” phenomenon, speaking to a pill popping housewife who he believes was given the LSD by her stale husband who is now a politican. After she throws him it out, believing his motives to be other than they are, her children originate screaming for ice cream. It is difficult to forget this scene: her eyes gather wide, she removes her hair, and comes halt to butchering them with a knife. Again, this terrible bastard saves the kids, and ends up looking like the villain.
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The last few scenes are unforgettable, with some 70’s humor thrown in. For all the occasionally abominable dialogue and status holes, I would not at all call this a “B” grade movie. It creates an undeniable atmosphere of apprehension and paranoia. “The Ringer”, a short film dealing with the illusions of pop culture and marketing, is almost better than the movie itself. This is more than worth buying.
