THE PREY - BLU-RAY REVIEW

A well-made, low-budget slasher film, Edwin S. Brown’s THE PREY (1980) hasn’t been available on home video since its domestic 1985 Betamax / VHS videocassette from Thorn/EMI, and, since then it has quietly disappeared into slasher movie oblivion. Thanks to Arrow Video (and above all Ewan Cant, one of Arrow’s acquisition gurus, whose unflappable determination made this release a reality), this neglected and highly-distinctive woodland slice ’n’ dicer has made its worldwide Blu-ray debut in grand fashion with this extraordinary Limited Edition 2-disc set.  

Produced in 1980, but not released until 1983, THE PREY’s rudimentary premise handily prefigures many of the key slasher films of its decade, and while it may be lacking in visceral punch, the film does possess a markedly different tone, one that is similar to that in Jeff Lieberman’s unsettling slasher / survivalist film JUST BEFORE DAWN (1980). Amidst the Keen Wild National Park, a number of disappearances have been occurring in Northpoint, one of the park’s least-explored areas, which back in 1948 had been the site of a devastating forest fire that left a number of nomadic gypsies (quote) “burnt to a crisp.” As dictated by the genre’s well-worn machinations, three young couples set out for Northpoint for a weekend of hiking and climbing, but, unbeknownst to them, hidden among the scenic surroundings teeming with fauna, a predator of a very different kind begins stalking the group…

While exceedingly straightforward in their basic set-up, the filmmakers most certainly do take a more novel approach to the proceedings, a fact which is most obvious in the inclusion of abundant wildlife footage that is liberally interspersed throughout the narrative (including some striking macrophotography of numerous insects). According to Ewan Cant’s and Amanda Reyes’ excellent audio commentary, which accompanies the theatrical version of the film, these scenes have been a (quote) “sticking point” for many viewers. But, as the commentators also point out, the concept for THE PREY did originally come about during a (quote) “cultural moment with the environment”. Indeed, the film does take an active, respectful stance towards the natural ecosystem seen in the film, successfully making the very wilderness milieu itself into a character in its own right, and this unique ‘ecocentric’ perspective remains just as prescient today as it was forty years ago. In what would become a virtually obligatory staple ingredient of many an out-in-the-bush slasher film from the period, the campfire scene (“Are you ready? I wanna tell you a curious story…”) is here juxtaposed with the campers preparing and eating their dinner while, simultaneously, indigenous carnivorous Animalia hunt and devour their prey; all the while, heard coming from off-screen are a series of overlapping campsite conversations (including a retelling of W.W. Jacobs’ classic short horror story, The Monkey’s Paw [Dodd Mead, 1902]). Not unlike some lower-budgeted Robert Altman film, this wonderfully mesmerizing sequence not only stresses the primal ‘survival-of-the-fittest / only-the-strong-survive’ hierarchical behaviours to be found in both Man and Beast, but also illustrates their (i.e., our) innate predatory nature, instinctive behavioural traits which are further underscored by numerous shots shown from the killer’s point-of-view as he stealthily stalks his own prey (…humans, natch!).  

For the most part, THE PREY is languorously—and eerily—paced, with convincing imagery of the region’s various animal life providing the necessary otherworldly atmosphere. When Gail (Gayle Gannes), the most urbanite of the hikers, suddenly starts blaring her portable radio while preparing for bed, Greg (Philip Wenckus), her somewhat-too-submissive boyfriend, politely remarks, “Come on, Gail. Turn it off! Let’s listen to the woods [instead]”. This is a rather witty, humorous touch on the filmmaker’s part, since it was Gail who, earlier in the film, had thought (quote) “Something was out there!” Although thinly-sketched, as per the usual formula, much of the narrative strives to humanize and help us to identify with the characters, and the (quote) “likeable” cast commit themselves sincerely to the material, the noteworthy standouts being Debbie Thureson and Lori Lethin (the latter later seen in Ed Hunt’s BLOODY BIRTHDAY [1981], yet another unique slash-’em-up). As largely laconic, lovingly benign Forest Ranger Mark O’Brien, Jackson Bostwick (who is probably best-remembered as Captain Marvel in the short-lived TV series, SHAZAM! [1974 – 1975]) features in some of the film’s more memorably eccentric scenes, one of which involves an extended joke about “wide-mouthed frogs” (!), but Ranger O’Brien is nevertheless fully cognizant of the potential dangers of venturing out to the Northpoint (“Not too many go up there!”). Also worth mentioning is Jackie Coogan (a former Hollywood child star whose career dated back to cinema’s silent era who later became re-familiar to many as Uncle Fester on THE ADDAMS FAMILY [1964-1966]), who here appears in a cameo / bit part as Lester Tile (his final film), O’Brien’s boss at the Ranger Station, who vividly recollects the horrific aftermath of the (quote) “worst mother fire in history!” 

A true labour of love, Arrow Video’s new 2K restoration, which was scanned from the original camera negative, looks spectacular on their new Limited Edition Blu-ray, especially when compared to Thorn/EMI’s faded and muddy ol’ videocassette. Revealing all sorts of previously-unseen details (e.g., look closely for a man burning alive in the film’s opening forest fire, a detail which was completely obscured on Thorn’s ancient analog tape!), Arrow’s highly-attractive new transfer is a real godsend for fans of the film, which finally enables viewers to better appreciate the early makeup F/X work by John Carl Buechler (GHOULS [1984], TROLL [1986], etc.), as well as better showcasing the crisp cinematography of João Fernandes, a prolific and talented DP, who also lent his considerable talents to such films of interest as Armand Weston’s THE NESTING (1981), Joseph Zito’s THE PROWLER (1981 [another iconic slasher]) and Gerard Damiano’s horror-tinged “porno chic” effort, MEMORIES WITHIN MISS AGGIE (1974). The LPCM 1.0 audio also sounds quite robust and well-balanced, oscillating nicely between Don Peake’s sometimes piercing score and the film’s sometimes quietly hypnotic wildlife footage, which allows you to both look at and “listen to the woods.”

As with Arrow Video’s previous extras-packed Blu-ray releases (also produced and coordinated by Cant) of other lesser-seen slasher films, such as John Grissmer’s BLOOD RAGE (1987) and J.S. Cardone’s THE SLAYER (1982), THE PREY is also chock-full of extras which would put most other video labels to shame. As mentioned earlier, extras begin with an easygoing, fact-filled audio commentary from Ewan Cant and Are You inthe House Alone?: A TV Movie Compendium 1964-1999 (Headpress, 2017) author Amanda Reyes. Since Cant managed to obtain its original shooting script, the two discuss much of the film’s original shooting dates and its magnificent Idyllwild locations; also themes of (quote) “urbanoia”; the significance of The Monkey’s Paw story; the alternate International Cut featuring the ‘gypsy flashback’ (more on that later); the film’s connection to the many eco-horror films of the ’Seventies; other (quote) “crispy killer” movies; plus many of the THE PREY’s cast and crew members are just a few of the discussions stuffed into a swift 80 minutes.       

Acting very much like audio commentaries themselves, the disc also contains a pair of separate audio interviews with director Edwin Brown (57m39s) and his wife Summer Brown (74m05s), the film’s producer and co-writer, both of which are conducted once again by Ewan Cant. In the first, director Brown discusses many of his early gigs, including his stint as writer-producer on Gregory Goodell’s HUMAN EXPERIMENTS (1979); his working relationship with João Fernandes (“He had a great eye!”); his candid admission to adding some extra insert shots of insects to pad-out THE PREY, a decision which he deems (quote) “legitimate” in this instance, since their inclusion logically corresponds with one of the film’s main themes; his collaboration with Summer, who helped put his script into more (quote) “comprehensible verbiage”; and, last but by no means least, we have producer Joe Steinman, who may have been involved in the alternate cut involving the (quote) “gypsies, the fire and all that bullshit!” In the second lengthy interview, Summer Brown talks about the origins of the film inspired by the (quote) “incredible success of HALLOWEEN” (1978); her embarrassment about the unnecessary gypsy flashback version; as well as the finished product’s distribution woes. And on yet another separate audio track, audience reactions were recorded from the film’s restoration premiere at this year’s Texas Frightmare Weekend convention.

A number of on-camera interviews also accompany the disc, including Gypsies, Camps and Screams (27m01s), with Debbie Thureson; Babe in the Woods (13m45s), with Lori Lethin; Gayle on Gail (11m49s), with Gayle Gannes Rosenthal; The Wide-Mouthed Frog and Other Stories (18m20s), with Jackson Bostwick; and Call of the Wild (7m13s), with Carel Struycken, who played the towering so-called “Monster”. Everyone discusses most of their early acting stints, including plenty of television work and commercials (even including some vintage clips from Ms. Thureson’s own TV commercial work) and in addition discussing the (quote) “easy and comfortable” atmosphere on set. Most everyone also discusses the spectacular locations of Idyllwild and how much of the dialogue was at times (quote) “improvisational”, and which, according to Ms. Gannes, “…all felt very natural.” And speaking of Gayle, be sure to check out Gayle’s Original Sweet ’n’ Sassy Barbecue Sauce! Other extras on the first disc include In Search of The Prey (13m58s), a fun visit to the Idyllwild locations with Debbie Thureson, Ewan Cant and cinematographer Jim Kunz, who even re-enact some of the film’s more notable scenes, and lastly, there’s a Q&A session involving Lethin and Bostwick during which Struycken also turns up, in footage shot following a screening at the above-cited Texas Frightmare Weekend. A VHS-sourced trailer (1m24s) finishes off the extensive extras.

Limited to 3000 copies, the second Blu-ray contains the now-legendary International Cut (95m37s), featuring the incredibly obtrusive gypsy flashback, which stops the film dead in its tracks and quite frankly sticks out like a sore thumb. Unfolding during the film’s aforementioned campfire scene, this nearly 20-minute sequence was shot well after the fact (by different filmmakers, no less, and without the Browns’ knowledge). It even features a number of softcore sex scenes with adult film stars of the era, including John Leslie and Eric Edwards, who are heard to utter such typically inane skinflick talk as, “Think of the last time he gave you a gentle touch.” Regardless of how one may feel about this alternate version, it’s a fascinating (and much-appreciated) extra just the same, which was likewise (quote) “scanned in 2K resolution.” In an even-more-confusing state of affairs, both cuts of the film each contained footage that was unique to one another, so a Composite “Fan” Cut (102m34s) utilizing footage from both the U.S. Theatrical and International Cut was also meticulously constructed. In a fortuitous circumstance, Severin Films’ David Gregory also succeeded in locating a reel of rare outtakes (45m48s), which helps to set the record straight regarding THE PREY’s once-confusing production history. 

As usual, Arrow’s packaging is absolutely superb, featuring reversible cover art of the film’s original U.S. one-sheet poster, as well as all-new artwork care of Justin Osbourn anda slipcover featuring the film’s U.K. video artwork too. A 27-page booklet includes essays by Ewan Cant on the film’s previously nebulous production history, and there’s a terrific—verrrry detailed!—look into the laborious patchwork reconstruction of those alternate cuts by OCN Labs’ and Vinegar Syndrome’s Joe Rubin. To top it all off, Arrow have even included a replica of a Day Use Permit for the Keen Wilderness shooting location. A very nice touch, indeed! Stunningly restored and lovingly put together, this BD package easily ranks right up there among Arrow Video’s finest, most surprising releases of the year. Order it from DiabolikDVD.