Alex Nicol’s directorial debut is typically considered as a candidate for Worst Film of All Time. However, Floyd Crosby’s cinematography disqualifies the flick from candidacy within the Top Five but the stillborn storyline, poor acting, and numerous non sequiturs allow it to remain a Top Ten contender.
Eric Whitlock (John Hudson, Gunfight at the O.K. Corral) has recently remarried and returned to his home in the South with his new bride, Jenni (Peggy Webber, The Wrong Man, Macbeth), who is literally haunted by her predecessor, Eric’s late wife, Marion.
And that’s about it for a storyline. Screenwriter John Kneubuhl doesn’t add anything else to the plot other than the characters of Edward Snow (Russ Conway, What Ever Happened to Baby Jane?) and his wife (Tony Johnson), as well as a groundskeeper named Mickey (Alex Nicol). His unimaginative plot is accompanied by his stagnant dialogue. For example, as Eric takes Jenni through his estate, she points to the top of a nearby hill. “What’s that?” she questions. “That’s where Mickey keeps his gardening things,” Eric replies. “Who’s that?” Jenni darts back, refusing to miss a logistical beat. “The gardener,” Eric replies nonchalantly as he turns and continues the tour, unperturbed by the fact he married an idiot. Returning to Snow and his wife, the couple–even between themselves–keep with “Mister Snow” and “Misses Snow” (she is never given a first name, even in the credits).
As much as the Snows maintain formalities, Eric–in lieu of the fact that he has been married previously–doesn’t seem to be aware of the unwritten rules of matrimony in that he continually opens the ex-files at every turn. Jenni, being the new bride, attempts to maintain a polite smile in the wake of her husband’s matrimonial crassness as he mentions Marion every few seconds. But, alas, as they continue through the estate, they come upon Marion’s gravesite. The headstone seems to have been modeled after the Great Seal of the United States (the pyramid on the back of the one dollar bill), complete with the death mask, not of Marion, but of the famed French suicide in the 19th century, L’Inconnue de la Seine. This is second only to the portrait of Marion kept within the Whitlock mansion, which appears to be a paint-by-numbers affair.
However, at almost exactly the halfway mark, the Kneubuhl decides it is time to have something occur onscreen. Between the hard cuts made by the editor, Betty Lane, a barrage of skulls appear, all of which are supposed to be the remains of Marion after a crushing blow to the cranium. However, the present day skull appears unblemished aside from the fact that its jawbone happens to be fused on both sides (obviously Marion was the silent type). Lastly, as Eric attempts to locate a skull in a lily pond, unable to find the negligent prop, he plunges into the shin-deep water, thereby putting him at no better advantage then if he would have remained on the edge of the pond but nonetheless allows him a refreshing reprieve from the Southern heat as well as his new bride.
The Screaming Skull is not an entire cinematic loss. Floyd Crosby, cinematographer on such sets as High Noon, From Here to Eternity, Oklahoma!, Pit and the Pendulum, showcases his talents in The Screaming Skull, especially with his tracking shots, thus giving the viewer something to admire during the otherwise anguishing hour-long production. Conversely, the lighting supervisor, John Millman, brought a single 40-watt bulb to the set because discerning what is occurring onscreen during most of the film is a challenge at best (perhaps he was doing us a favor). Also of note is Peggy Webber’s ability, not only to scream excessively well, but also peel her lips back to grotesque effect while so doing.
![screamskull19582[1]](http://www.horrorreview.com/wp-content/uploads/2015/01/screamskull195821.jpg)
Reciprocating the sentiment from Mystery Science Theater 3000, during the opening credits, the director offers the audience free funeral arrangements to anyone who dies of fright. Unfortunately, you will be exempt from such parting gifts if you die of any other cause, namely the more probable cinematic ailment referred to as boredom. The one thing I can soundly state is impressive about the film is the poster art and that, folks, pretty much sums up Alex Nicol’s The Screaming Skull.
-Egregious Gurnow
- Interview with J.R. Bookwalter - January 22, 2015
- Interview with Andrew J. Rausch - January 22, 2015
- Interview with Rick Popko and Dan West - January 22, 2015
- Interview with Director Stevan Mena (Malevolence) - January 22, 2015
- Interview with Screenwriter Jeffery Reddick (Day of the Dead 2007) - January 22, 2015
- Teleconference interview with Mick Garris (Masters of Horror) - January 22, 2015
- A Day at the Morgue with Corri English (Unrest) - January 22, 2015
- Interview with Writer/Director Nacho Cerda (The Abandoned, Aftermath) - January 22, 2015
- Interview with Actress Thora Birch (Dark Corners, The Hole, American Beauty) - January 22, 2015
- Interview with Actor Jason Behr, Plus Skinwalkers Press Coverage - January 22, 2015
