COLLECTOR'S CRYPT - THE MAD BOMBER (SEVERIN FILMS BLU-RAY)

What does it mean when someone says, “They don’t make movies like this anymore?” Some may perceive this as a cry for less inclusive nostalgia, a supposed “simpler” time when there were fewer considerations around things like representation, diversity, and content that cared little about the impact it had on others. Another way of looking at it is that films from previous periods often carry with them the zeitgeist of the time they were made. They are time capsules that remind us of how ingenuity in filmmaking was more about craft than profit and sometimes dabble in provocative premises that by today’s standards may not go over as well. These are the kinds of films that boutique labels such as Severin Films dabble in, and with one of their latest releases, “The Mad Bomber” we travel back to 1970s LA for explosive mayhem. Is this a trip back in time worth taking?

WHAT’S IT ABOUT?

Los Angeles detectives Minelli and Blake must track down a serial rapist who may know the identity of a mentally disturbed bomber.

HOW IS IT?

Regarding an eye-catching premise, it’s hard to beat how “The Mad Bomber” is marketed. “Salacious” would be the tamest word to start with when describing this 1973 exploitation flick, but it is certainly one of the more apt descriptions of the film out there. It’s a film that could only be described as “They don’t make movies like this anymore” and much of that has to do with both the plot as well as the period in which it was filmed. Like any great exploitation film, it doesn’t concern itself with the minutiae of logic and reason, instead favoring a more boisterous approach aimed at shocking you to the point you aren’t paying attention to the specifics. Granted, 1973 was a different time, but “The Mad Bomber” relishes its sleazy and outlandish approach that is also highly entertaining.

William Dorn (Chuck Connors) is a disgruntled man who has decided that the citizens of Los Angeles should be taught a lesson, and that lesson takes the form of a series of bombs left in random places throughout the city. Alongside Dorn’s explosive retribution, George Fromley (Neville Brand) is a serial rapist hunting down and sexually assaulting women throughout the area, and the first victim we are introduced to happens to be a mute woman living in a psychiatric hospital. We told you this is sleazy, didn’t we? The intersection of these two maniacs is the LAPD and Lieutenant Geronimo Minneli (Vince Edwards) who is tasked with finding both of them, only to realize that George may be able to help find Dorn and stop him before he bombs again. The story isn’t much to write home about, but the characters and the way they are portrayed here make it clear that not even the supposed “good guys” are actually that good. It’s a fascinating situation to place a viewer in, where there is no one you want to root for and no one is redeemable, but that’s just part of the charm of good, exploitation cinema.

The downside of exploitation cinema can be the pacing, and “The Mad Bomber” is no exception here as it has its share of peaks and valleys throughout the film’s 91-minute runtime. Some of the monotony of police procedural work can be a drag, and the occasional pivot to a scene of George raping a woman never gets any easier to watch. Part of that has to do with the music, particularly in more tense scenes. It resembles the sound of discordant metal strings being hit with some kind of violin bow. The screeches and frenetic score in these moments elevate the tension significantly but also become very annoying very fast. What “The Mad Bomber” can’t be accused of, however, is having a bad ending. The last 5 minutes of “The Mad Bomber” is hands-down one of the most absurd and violent endings for a movie that doesn’t traffic in a lot of gore. It almost doesn’t fit the tone of the film, but then again, this is exploitation cinema and anything goes!

HOW DOES IT LOOK?

Severin has once again breathed new life into old films, this time with an impressive 4K transfer that includes uncut and uncensored footage that was not part of the initial release. As is usually the case with Severin, they sourced this transfer from the original internegative and preserved the 1.85:1 aspect ratio. Similar films from this time that were shot on 16mm or 35mm should maintain some of the grain that format produced, and Severin as is par for the course respects the need to keep materials as close to how they were intended while also offering up transfers that eliminate minor imperfections that don’t alter the film. The colors here carry the vibrant and muted look of the 70s almost as if the landscape has a hint of pastel in it. Some scenes are rougher than others, but on the whole, this is another W for the Severin restoration team. Images from this release are used throughout the review.

HOW DOES IT SOUND?

Severin comes out swinging with a surprisingly loud and effective 5.1 surround sound track alongside the original English mono. We took advantage of the 5.1 for our review, and can safely say that it is deployed to great effect. The bombastic (pun intended) scenes are not where the effect is most felt, but rather in the scenes where the screechy and anxiety-inducing strings kick in during moments of high suspense. This discomforting sound not only makes the viewing experience more visceral, but the way it sounds feels like it is encompassing you and choking you. Needless to say, it sounds great.

ANYTHING SPECIAL?

It’s always amazing to see how much material Severin can dig up and create for films that often fly under the radar for decades. It’s a testament to their love and adoration for genre film, and it’s a treat for all of us who appreciate going deeper into the world of our favorite films. Concerning “The Mad Bomber,” there are a host of features and one of the first ones we checked out was Patricia Gordon Remembers Her Father, a 21-minute audio interview with the daughter of director Bert I. Gordon. Not explicitly focused on “The Mad Bomber,” but certainly with plenty of stories of working on the set with Chuck Connors, Patricia talks more broadly about what it was like growing up in the house of a filmmaker. From the extravagant living room/dining room screens that were installed to driving a Rolls Royce at 16, Patrica covers a lot of ground while also providing a lens into how children of people in the industry grow up. Patricia remembers her father fondly and even recalls some of his lesser proclivities, but never as a means to put down, like his love of women.

There are a host of additional features listed below, as well as a lovely insert that provides a short history of “The Mad Bomber.”

Bonus Materials

• Audio Commentary By House Of Psychotic Women Author Kier-La Janisse With Retired Bomb Squad Detective Mike Digby

• Isolated Score

• Audio Interview With Director Bert I. Gordon Conducted By David Del Valle

• Patricia Gordon Remembers Her Father

• To Be In The Moment – Interview With Actress Cynthia MacAdams

• On The Trail Of THE MAD BOMBER – Locations Featurette

• THE MAD BOMBER TV Cut

• TV Spots

Booklet: THE MAD BOMBER Story – Essay By Andy Turner With Exclusive Images From Still Photographer Carol Gordon

LAST RITES

“The Mad Bomber” is as unhinged as the title alludes to with an audacious setup, unlikable leads, and Chuck Connors going absolutely mental in a bloody finale. The package from Severin is a reminder that without physical media and the companies that support it, the world of film is a lot less rich.

THE GORY DETAILS

Thank you to the fine fiends over at Severin for providing a review copy for the crypt! The Mad Bomber is available NOW and can be purchased via Severin Direct!

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