The Next Reel Film Podcast

The first of six in our Horror Debuts series. Before 'American Graffiti,' before 'Indiana Jones and the Temple of Doom,' before 'Howard the Duck,' there was 'Messiah of Evil.' We talk about where husband and wife team Gloria Katz and Willard Huyck got their start.

Show Notes

"We’re never going to leave this place, are we?”

While Gloria Katz and Willard Huyck were writing the script for American Graffiti for their USC chum George Lucas, they were working on a low budget horror film that they would produce, write, and direct together. This film was Messiah of Evil and, unfortunately for them, was taken away by the producers before they could finish filming. The producers hastily cut the project together and released a version in 1973, hoping it would make its money back. Because of that, Katz and Huyck largely dismissed the film for decades. It wasn’t until its 35th anniversary when it was restored that they seemed to recognize the film was peculiar but had its fans and its strengths.

Join us – Pete Wright and Andy Nelson – as we kick off our ‘Horror Debut’ series with Katz’s and Huyck’s 1973 horror film Messiah of Evil.

What works in Messiah of Evil and what doesn’t?

Katz’s and Huyck’s film is a bit of a mess when you look at the story, but is that what you’re meant to take away from it? Perhaps if Katz and Huyck had been able to finish it their way. Then again, who knows? They did make Howard the Duck. So we have to look at the film as what we have here. And honestly, the story may not be that strong, but a horror tone poem certainly is. It’s a tremendous creation in mood and tone.

That can be a bit of a struggle, though. It’s certainly more of a struggle for Pete who felt like he’d been set up for more slasher killings as we get in the start of the film before it shifts into less overt, bloody killings. But the mood is there and it gets under Andy’s skin. He feels it’s enough and thinks the film is excelling at creating a vibe that’s hard to shake.

The colors, scene construction, lighting, editing, music, production design and effects all lend tremendously to this mood. Again, is that enough? Regardless, how great is it seeing so many film artists in these roles that would go on to contribute so strongly to the industry.

We try tackling the story to see if we can sort out what we’re meant to get from it. Because the story is more vague and ill-defined, it’s tricky. There’s a lot of guesswork in here on our parts. We think we have it sorted out, but again, this speaks to the problems with the story as it was constructed for this finished film.

The artfulness with the visuals really speaks to us though. From the first out of focus shot of Arletty in the hallway as she walks toward camera and eventually into focus, we’re hooked. From creepy zombie people’s silhouettes on the skylight to the crazy paintings on Arletty’s dad’s studio, to the killing in the movie theatre, the images are designed to terrify.

And speaking of that movie theatre scene, that’s likely the strongest horror scene in the film. It builds the tension well and becomes truly terrifying. The grocery store is great too, but doesn’t work quite as well as this. And it leaves the question – if these townspeople are mindless zombies eating whatever meat they can find, why does the albino leave her alone when he picks her up hitchhiking? Is it because he’s full from eating rats? Or has the sickness not quite completely infected him? These are those story points that can be frustrating.

Regardless, it’s a great film selection to kick off our Horror Debuts series. It gives us a chance to talk about Gloria Katz and Willard Huyck, which is particularly touching having lost her in 2018 to ovarian cancer. We have a great conversation about this film so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

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Creators and Guests

Host
Andy Nelson
With over 25 years of experience in film, television, and commercial production, Andy has cultivated an enduring passion for storytelling in all its forms. His enthusiasm for the craft began in his youth when he and his friends started making their own movies in grade school. After studying film at the University of Colorado Boulder, Andy wrote, directed, and produced several short films while also producing indie features like Netherbeast Incorporated and Ambush at Dark Canyon. Andy has been on the production team for award-winning documentaries such as The Imposter and The Joe Show, as well as TV shows like Investigation Discovery’s Deadly Dentists and Nat Geo’s Inside the Hunt for the Boston Bombers. Over a decade ago, he started podcasting with Pete and immediately embraced the medium. Now, as a partner at TruStory FM, Andy looks forward to more storytelling through their wide variety of shows. Throughout his career, Andy has passed on his knowledge by teaching young minds the crafts of screenwriting, producing, editing, and podcasting. Outside of work, Andy is a family man who enjoys a good martini, a cold beer, a nice cup o’ joe. And always, of course, a great movie.
Host
Pete Wright
#Movies, #ADHD, & #Podcasting • Co-founder @trustory.fm🎥 The Next Reel Family of #Film Podcasts @thenextreel.com🎙️ Taking Control: The ADHD Podcast @takecontroladhd.com📖 Co-author of Unapologetically ADHD • https://unapologeticallyadhdbook.com

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