Swedish Sensationsfilm: A Clandestine History of Sex, Thrillers, and Kicker Cinema

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In the annals of grindhouse exploitation cinema, Italy owns the giallo, Australia offers Ozploitation, and Sweden has spawned—theSENSATIONSFILM!

In many respects, Sweden’s place in film history is secure and prominent. Swedish films are associated internationally with the success and high quality of Ingmar Bergman’s reputable works. However, another breed of Swedish film is notorious for its laissez-faire attitude towards nudity and relaxed sexuality. Produced in the backyard of the Swedish film industry, these sexually daring films join countless speculative or sensational movies that deal with shocking or taboo subjects—street punks, space aliens, hard drugs, and drunken vikings. Other efforts are simply too strange and Swedish to ignore. Once again, Swedish Death Metal author Daniel Ekeroth delves into the arcane culture of his homeland, returning with the first comprehensive overview of “Sensationsfilms”—Swedish Exploitation Cinema.

Includes reviews and release information on nearly 200 clandestine Swedish films produced between 1951 and 1993, plus a new introduction by Daniel Ekeroth; and an unpublished in-deep interview with actress Christina Lindberg (Thriller: En Grym Film/They Call Her One Eye, Maid in Sweden,Anita: Swedish Nymphet) Films include uncovered—and undressed!—early movie roles by stars like Stellan Skarsgård (Pirates of the Carribean, Mamma Mia!, Dancer in the Dark), Pernilla August (Fanny and Alexander, Star Wars Ep. I & II), Max von Sydow (Shutter Island, Minority Report), and Lee Hazlewood.

Christina Lindberg

“I look back with genuine joy. I am so very happy I could be a part of the seventies, it was so incredibly interesting. I carry it with me; it is a part of me. I would never deny being in those movies. I know that a lot of people do so, but I just had a blast.”— Christina Lindberg

“Into this rising whirlwind of madness, I was born in 1972.  As the ‘70s came along, all limits were forgotten. Sweden was flooded with sexually explicit films of every kind, violent gangster movies…and all morals were gone.”—Daniel Ekeroth, author, Swedish Sensationsfilm

  • 300 page trade paperback, includes 16-page sensational color section
  • Features nearly 200 reviews of strange and sexy Swedish films
  • Full-color insert features rare vintage film posters and lobby cards
  • Original cover artwork by Wes Benscoter (Black Sabbath, Slayer, Thriller)

Coming in August 2010 from Bazillion Points Publishing!

American Grindhouse (2010, Review) End Films

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In the past twenty years or so horror fans have slowly begun to open their minds to more and more types of films in search of something more shocking, more thrilling, and yes, more sleazy. Their appetite for more led them to the exploitation genre, which encompasses many types of movies; horror, action, sci-fi, kung-fu, art-house and my favorite, erotica. Small DVD companies picked up on the interest and began buying rights to long forgotten gems, resurrecting them from the graveyard that is now the long dead medium of the VHS tape. It wasn’t long after that publishers and genre experts released books on the plethora of classic exploitation and horror films and before long any fringe film fanboy (say that three times fast! No don’t, you would sound silly) could be an expert him or herself.

Maniac director Bill Lustig

Forums across the vast expanse of the interwebs became a place of great discussion and also a fantastic place to learn from people who were there in the 1970s and 80s making it happen. Movie geeks, collectors and filmmakers swap information, tell stories and introduce others to new old films that no one had ever heard of. So by now the history of exploitation in movies is pretty well known. From the very first times the camera rolled to the present day gore-filled horror, the history of the exploiters who exploited the exploitees and the films they produced is well documented in print and on the information super highway. But now we have the good fortune of having that information in a very slick documentary by writer/director Elijah Drenner.

Horror legend John Landis

The doc tells the history through the mouths of film historians, critics, filmmakers and actors. It hits the high points of every imaginable sub-genre from nazisploitation, women in prison, blaxsploitation, biker flicks, porn and much more. It shows clips and trailers of some of the most infamous from each type, kind of like those wonderful trailer compilations with the addition of anecdotes from film pioneers like Larry Cohen, Joe Dante, Don Edmonds, David Hess, Jack Hill, John Landis, Herschell Gordon Lewis, Fred Williamson and William Lustig. Not to mention the knowledge being dropped by the historians, critics and authors on the subject, and the narration is by Robert Forster. The film production is top-notch as you can see from the impressive line-up of stars they got to participate. Anyone with an interest in horror and exploitation should really check out American Grindhouse at their local film festival or theater showing if you are lucky enough to be near one.

Blaxsploitation star Fred Williamson

My one and only bitch about the documentary is that it really only skimmed the surface of a lot of the genres and filmmakers while also leaving out some altogether. The runtime was around 80 minutes and I really think it should have been around three hours. Yeah, I know I’m being picky, but there is a lot to cover here and I want more, dammit! Mr. Drenner did a bang-up job here and I think a little more info on some of the subjects would have been kick-ass. But hey, it’s a hell of a place to start for beginners, casual fans and asshole movie geeks like me who aren’t happy unless Roberta Findlay herself is sitting in their living room spitting running commentary during the viewing. I’m sure the DVD will be full of tasty extras and maybe, just maybe I will be satiated.

Until then, check out the showing schedule on the OFFICIAL WEBSITE!

Lacey talks filmmaking and tucking with “All About Evil” writer/director Joshua Grannell

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Celebrated San Francisco cross-dressing showman extraordinaire, Josh Grannell (AKA the ravishing ‘Peaches Christ’) recently stepped out of his (or her) flamboyantly stylish “Fuck Me” boots, hung up the bouffant wig, and washed pounds of makeup off to unveil his first feature film, All About Evil to eager festival audiences throughout California. Clearly a tribute to several of Grannell’s main sources of inspiration—including the stage gimmicks of acclaimed Gran-daddy of horror, William Castle, the transgressive trash of John Waters, and his obvious passion for performing arts—All About Evil is a wacky, whimsical trip to an old Victorian-style movie theatre that many of us movie maniacs will relate to the first place we ever experienced cinem-arousal.

For many horror & hilarity go hand in hand but it’s rare to find a movie that manages to meld the two without completely reeking of rancid shlock (the kind that is so bad that it’s actually BAD). All About Evil had me laughing out loud, falling in love with horror movies all over again, and feeling giddy about the whole thing for literally days after, not to mention recommending it to pretty well everyone I know.  I’ve got a hunch that drag queens, Natasha Lyonne, and a set of homicidal twins will be enlightening the hearts and busting the guts of millions of horror hounds worldwide upon an official DVD release. I was lucky enough to catch Josh during some of his nearly non-existent downtime between hosting Midnight Madness shows as his drag clad alter-ego and attending premieres of his first film.

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Peaches Christ in all her murderous glory.

Laceration Lacey: So how did Peaches Christ come about?

Josh Grannell: Peaches was born in my senior thesis film Jizzmopper: A Love Story. I was a student at Penn State directing the film and when the actor playing the drag queen part didn’t work out, I courageously slapped on that face, put on a wig and jumped in front of the camera to do the deed. When the film was completed, I graduated and moved to San Francisco where “Peaches Christ” launched her performance career at Trannyshack, and soon after created the midnight movie event Midnight Mass.

LL: What kind of thoughts do you have floating around in your mind as your packing on pounds of makeup and squeezing your manhood into an excruciatingly tight pair of pantyhose?

JG: Hmmm, I guess the whole process of getting ready really is transformative in a character sense. I can always tell that as the makeup goes on and I’m getting dressed and such, the voice of Peaches is bubbling up, thinking of things to say, to do onstage. It takes about two and a half hours to get fully ready, so the process is almost meditative at this point.

LL: Do you feel at least a little bit sexy upon doing so?

JG: I can act like I feel sexy as Peaches, but I never actually truly do feel sexy. The character’s costuming, makeup, hair, and accoutrements are actually incredibly uncomfortable. I won’t bore you with the details, but physically it’s wholly uncomfortable.

LL: Did you initially plan a role for her (Peaches) in All About Evil? Or was it something that just happened along the way?

JG: It happened along the way. I don’t think she was in the treatment or even the first draft.

LL: John Waters has obviously had a significant impact on you and the direction that you’ve headed with your work. What are some of your favorite Waters films?

JG: I grew up in Maryland worshipping at the altar of John Waters. My favorite overall is Female Trouble, but I also completely love Polyester, Serial Mom, Desperate Living, Pink Flamingos, Hairspray, Multiple Maniacs, etc…

John Waters and Divine

LL: I read in an interview with Shock Till You Drop that you’re a fan of William Castle. What are some of your favorite films of his and do you think his natural showmanship and use of gimmicks has had a significant impact on your love for theatre & performing?

JG: I think much of my Midnight Mass movie event was really inspired by William Castle and I love all the showmanship that he stood for. I’ve even re-created some of his old gimmicks and handed out little axes at screenings of Strait-Jacket at Midnight Mass. I love Strait-Jacket by the way! I love that and Homicidal, The Tingler, 13 Ghosts, and more. He’s hugely inspiring to me. As part of my All About Evil tour and the Peaches Christ 4-D Experience, we’re handing out Jonestown style Dixie Cups to every audience member which is completely because I loved what William Castle did with those little mini-axes at Strait-Jacket screenings.

LL: Peter Jackson is mentioned a few times in All About Evil. Are you fan of his work? Do you think he should say screw the big budget stuff and re-live the days of classic Jackson splatter, Braindead style?

JG: I’m a huge fan! I think it’s great that he gets to do such big budget stuff now and I really loved the Lord of the Rings. I mean, wow. I also love Dead Alive, Meet the Feebles, and Bad Taste and of course Heavenly Creatures. Peter Jackson is just awesome. I’m one of the “theatre full of Peter Jackson dorks” that the Judy character refers to in All About Evil.

LL: What do you think of other recent genre films like The Hills Run Red, Midnight Movie and Behind the Mask: the Rise of Leslie Vernon—films that are based on a similar ‘movie within a movie’ concept. Were there any films that particularly came to mind for inspiration?

JG: OK, I’m a bad nerd now because I honestly haven’t seen any of the three movies you mentioned. I feel like I’ve been living on planet Evil and have missed a bunch of stuff. I can tell you that Theatre Of Blood, Demons, The Bad Seed, Carrie, and Female Trouble were all pretty inspiring when writing All About Evil. I was also inspired by Doris Wishman, her life and career.

LL: You obviously worked with some very talented people on the set of All About Evil, including Natasha Lyonne, Noah Segan and Thomas Dekker. How did you go about casting?

JG: I feel like I got my dream cast. Primarily we asked our friends and went through people we knew. I was pals with Mink Stole and Cassandra Peterson so I pitched to them directly and the producer Darren Stein knew Noah and Thomas which was great. Our fantastic cinematographer Tom Richmond had shot The Slums of Beverly Hills and so with his help, we were able to get the screenplay into the hands of Natasha. I think avoiding managers and agents when you’re a first-time filmmaker best known as a drag queen named after Jesus is the best way to go about it.

LL: The Ramsey sisters were sickly sultry, definitely my two favorite characters. How did they get involved in the movie? I have to ask, is there any relation between Veda & Vera and the twins in Kubrick’s adaptation of The Shining?

JG: Everyone LOVES the twins! And how can you not? I adore them and the truth of it is that the twins were written to be blonde. In the screenplay they’re described as twin girls grown up, both blonde, both teenage versions of The Brood or Village Of The Damned. I wanted them to look like a teenage version of the little girl in Poltergeist or The Bad Seed. Anyhow, after auditioning tons of blonde twins in Los Angeles and not feeling satisfied, the Ramsey girls came in and did the audition where they timed their breathing to be the same. It was SO CREEPY. They walked out and that was it, I knew it had to be them. The homage then kinda became The Shining by default. And did you know they’re actually British?!?


The Ramsey Sisters

LL: Tell me about your experiences in the San Francisco underground performing arts?

JG: Well, being part of Trannyshack and creating Midnight Mass really was crucial to me building a creative community of collaborators that I work with to this day. I don’t think I could have had the same career in any other city in the world. San Francisco has really supported what we do. Peaches is now the face of the SF Museum Of Modern Art and is on billboards celebrating its 75th Anniversary around town. That’s kind of incredible and I really do have loads of gratitude for the people I work with here, but also the fans. It’s a special place to live and work.

LL: What was the childhood of a famous performing drag queen/filmmaker extraordinaire like?

JG: In some ways, it was very normal. I grew up going to Catholic school in a Baltimore/ D.C. suburb, Annapolis. I was always weird, but at the time I don’t think I really knew it. I was obsessed with horror as a kid and that never really changed. The Thomas Dekker character in the movie is really modeled after me in a lot of ways, though I was NOT that good looking. I was a geek, but got into performing and writing and putting on shows at a really young age and just never stopped.

LL: Will Peaches ever tour worldwide? Any Canadian dates in mind for the future?

JG: There’s an upcoming Canadian appearance that I’m doing as Joshua that I’m not allowed to announce yet, because the festival needs to do it first. Peaches and All About Evil will be appearing in Manchester England in October, as well as some other places in Europe this year and next.

LL: Any last words for Cinesploitation?

JG: Just thanks so much for including me! I love what you guys do and the stuff you cover. Let’s obsessively visit one another’s sites!

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All About Evil‘s OFFICIAL SITE
Peaches Christ’s OFFICIAL SITE

All About Evil (2010, Review) Backlash Films

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Director: Josh Grannell

Cast: Natasha Lyonne, Noah Segan, Thomas Dekker, Mink Stole, Jack Donner, Cassandra Peterson, Jade Ramsey, Nikita Ramsey, Ariel Hart, Ashley Fink, Anthony Fitzgerald, Patrick Bristow, Julie Caitlin Brown, Gwyneth Richards, Lyndsey Kail

Official Site

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Sickly sultry twins, Noah Segan dressed in drag, and an old theatre that screens classic horror films like Blood Feast and The Brain That Wouldn’t Die—seriously, what more could any horror movie geek actually ask for? Josh Grannell’s  All about Evil is a blood splattered, perfect portrait of everything that kicks ass about going to the movies. A well-known face amongst the guys, girls, and he-shes of the San Francisco underground theatre arts,  Grannell—AKA the ravishing ‘Peaches Christ’—contributes every bit of his lifelong passion for performing and his love of film to this little midnight-screen worthy gem. Back before the days of DVD players, disc burners, and bit torrents people still paid money to experience the magic of going to the theatre to catch a flick. Drive-In theatres flooded with horny teenagers on Saturdays nights, and people intentionally neglected to ‘Be Kind, Please Rewind’ their VHS rentals; this was the dawn of true cinefilia, and Grannell has captured elements of this revolutionary cinema era in his big-screen debut.

Remember those days when you dreamt of being a big name on Broadway or in Hollywood? I’m certain we’ve all been there; starving for a taste of stardom, a glimpse of our faces on the big screen, permanently engraving our mark into the majestic mountain of entertainment history. Well little Debbie Tennis is about to have her shot at centre stage literally pissed on and fried by a malevolent, dream destroying electrical current—a traumatic childhood event that just may have something to do with the insatiable taste for blood and superstardom that she develops.  A quiet, quirky librarian by day, Debbie (Natasha Lyonne) spends her evenings managing the Victorian theatre, an inheritance from her recently deceased father to whom she was particularly close, and screening cult classics with hope of keeping her father’s dream alive. The screening choices are reminiscent of some of writer/director Josh Grannell’s greatest influences, particularly the works of  the “Godfather of Gore”, H.G. Lewis and showman extraordinaire, William Castle.

After a verbal beat down from her “Wicked Bitch of the West” mother who attempts to coerce her into signing away ownership of her father’s theatre, Debbie finds herself drenched in blood, straddling the lifeless body of the maternal monster, and in need of a plan to destroy the evidence. Meanwhile, a group of Friday night film freaks and Peter Jackson nerds impatiently await an anticipated blood feast for their eyes in the theater. The projector starts rolling and the audiences’ shared agitation is quickly forgotten as their hostess unintentionally presents them with a bit more than they bargained for—an applause worthy short film that closely resembles lobby surveillance footage of a wretched woman getting her jugular punctured by a pen and the culprit, none other than their Mousy Mistress of the Matinee, bellowing out maniacal laughter as she rubs herself down with the red stuff (and yes, this scene is as hilariously deranged as it sounds). Projectionist Mr. Twiggs steps out on stage to introduce the film as Debbie’s directorial debut, saving her ass from the confines of a prison cell and providing her with recognition from the audience that just might be the key to keeping the Victorian theatre alive… and there goes the black light bulb.

Filmed on the streets of San Francisco, All About Evil reflects the dark grittiness of the city while also highlighting its show-biz history and metro sexual populace. Although set in the present, Grannell approached All About Evil with a sense of timelessness. The Victorian theater has a very 70s-80s ambience while the main character, Steven (Thomas Dekker)—based on the writer/director in his youth—is basically a prototype for misunderstood misfit young adults dealing with the frustration of having everything they’re passionate about blamed for horrific tragedies like the Columbine shootings and other violent criminal behavior inflicted upon modern day society by young offenders. All About Evil justifies the reasoning behind the urge to subject oneself to things like horror films; an escape from everyday alienation and the unavoidable terrible things that are happening in the world today.

I’ve seen many  horror films, some absolutely incredible, some resembling the toxic waste that inevitably follows a long night of drinking draft beer and mowing down disgusting amounts of hot wings,  but watching a film as gratifyingly captivating as All About Evil is a rare and momentous occasion. Here is a film that is loveably ludicrous on so many different levels. Combining bits of traditional slapstick humor with wickedly witty dialogue between kooky characters that are accented tremendously by a rounded cast of eccentric entertainers, Grannell’s directorial debut feature nudges a few touchy subjects with his funny bone; making subtle giggle-provoking references to the Jonestown massacre, and walking the tightrope of controversy that separates violence in entertainment and the real life stuff. Believe it or not, there actually is some serious subtext at the bottom of this deviously delicious blood and butter smothered bucket of popcorn.