Don’t Look in the Basement-1973
Director S.F. Brownrigg
Starring Anne MacAdams, Rosie Holotik
Scott’s Review #954
Reviewed November 5, 2019
Grade: B
A film that is so low-budget that it strongly resembles the quality of independent master John Waters films, Don’t Look in the Basement (1973) has very low production values. It makes Waters’s films look like grandiose budget fests.
It contains a campy and cheap quality that adds to the fun of watching. With a videotaped look and marginal acting, the film is perfect for a late-night indulgence, but little more.
Director S.F. Brownrigg, with screenwriter, Tim Pope, brought this project to life. Also named The Forgotten and Death Ward #13, Don’t Look in the Basement is the title that works best and conjures up the most intrigue.
The story revolves around a collection of odd hospital inmates running the asylum while a series of mishaps occur.
Stephens Sanitarium is a secluded mental health facility in a remote area run by the quirky Dr. Stephens. The good doctor believes that the secret to curing his crazy group of loons is to allow them to express themselves, acting out their realities in hopes of solving their problems.
Stephens and an elderly nurse are both killed separately, he is accidentally hacked to bits by an ax, and she has her head crushed by a female patient who thinks her baby (a doll) is being taken from her.
Dr. Geraldine Masters (Anne MacAdams) is left to run the facility and greets a new nurse, the sexy Charlotte (Rosie Holotik) when she arrives from out of town expecting a job.
Charlotte encounters all the inmates before strange events begin to occur like an older patient having her tongue cut out, and a visiting telephone repairman being murdered.
One could speculate that Don’t Look in the Basement influenced independent treats such as Supervixens (1975), High Anxiety (1977), or the plethora of slasher films soon to be on the horizon, but this may be wishful thinking.
A few choice scenes seem like quick blueprints for these films to follow but in an amateurish way.
Despite the film being of the horror genre category, several scenes, mostly of Charlotte and Geraldine talking in an office, seemingly carved from a daytime soap opera, which was popular in those days.
The long dialogue, and almost throwaway scenes, do not further the plot much, and it’s the occasional macabre death scene that achieves the most reaction.
Don’t Look in the Basement adds a big twist that is not difficult to figure out once all the pieces are presented to the viewer. The foreboding title ultimately underwhelms as this anticipated big secret barely comes to fruition.
As the players are offed one by one the implausible conclusion reaches a climax and the viewer will ruminate that the early stages of the film are superior to the ending.
The poor pacing and meandering story made me tune out from time to time. Still, the film is fun and a good, old-fashioned camp-goofy good time.
The characters are completely over-the-top in the best possible way. A female nymphomaniac who, it is relayed, has been left by any man she has ever met and craves love and affection, is convinced that the repairman will marry her (they have only just met!) and has sex with his corpse.
A lobotomized black man only eats purple lollipops and has a heart of gold, while the ugly old woman, sans tongue, attempts to convey a secret message.
Don’t Look in the Basement (1973) is a marginal success because it does not take itself too seriously. This is both good and bad because the project takes on a juvenile quality that sometimes seems to be going for laughs more than for fright.
The acting is below par, but somehow the characters retain enough interest to warrant a recommendation, but only for those with interest in the genre.