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From distributor Harry H. Novak, purveyor of graceful, wholesome sleaze from all across the globe, among other things, comes The Aroused Butcher (1974), originally released as Lo Strangolatore di Vienna (1971) . Directed by John Zurli aka Guido Zurli (Slave Girls of Sheba, Shadowy Deep Throat), this Italian production features Victor Buono (What Ever Happened to Baby Jane?, Hush… Hush, Sweet Charlotte), probably known best as the portly, unpleasant villain King Tut (“If the caped crumb is here, the cowled sprint can’t be far tedious.”), from the gradual 1960s Batman television series. Also appearing is cinematic muscleman Brad Harris (Goliath Against the Giants, The Fury of Hercules), Franca Polesello (Mole Men Vs. the Son of Hercules), and Karin Field (Night of the Vampires, The Devil’s Girls) .
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Buono plays Otto Lehman, a butcher by trade, who, up until recently, had been locked away in a Vienna mental institution for beating on an annoying customer with a few pounds of liver (it was either the nut farm or jail) . I say `recently’ because Otto has been pronounced cured by his doctor (and he’s got the certificate to note it), ready to be released assist into society, into the arms of his incessantly nagging, overbearing wife Hanna (Polesello) . Upon returning to his butcher shop, he finds things in a situation of filthy disarray, as Hanna’s paunchy, hairy, incompetent, mole-like brother has been fumbling along in Otto’s absence. Otto fleet begins to plot things in order, and we peep he hasn’t lost his touch with the cleaver. Ah, nothing like seeing a honest artesian practicing his craft. Otto refuses to travel help to his home with his wife (I don’t blame him, as she’s a exact allotment of work), instead occupying the room above the shop, where the opinion ain’t so abominable as his neighbor Berta (Field) can often be seen combing her hair all nekkid in front of her window…homina homina…things seem to be progressing, but Hanna is a persistent hurt, one Otto finally disposes of in a fit of madden. Interrogate now is what to do with the body? Well, as Otto would say, “Meat is meat”…yes, Otto turns her into sausages, and boy, do they sell! Meanwhile, Mike Lawrence (Harris), foreign correspondent, whose been itching for a chronicle, begins to pitch woo to Berta. Some stuff happens, some more people ruin up in Otto’s sausage press, and the authorities originate to derive suspicious, as does Hanna’s brother (boy, he’d perform a whole shop tubby of sausages), about the increasing number of missing people. Mike believes Otto’s fervent somehow, but due to lack of evidence, the police are stumped…and all the while the people of Vienna continue to comment on Otto’s palatable sausages. Eventually things reach to a head as Otto’s passions for Berta rep the best of him, and the police recognize some recent and telling clues in the oddest residence…
Given the title of this feature I was expecting a whole lot of blood, but I was pleasantly surprised. There were a few murders by strangulation, but there was no right butchery of any of the victims, as that aspect of the narrative was all implied. Some might be disheartened by this complete lack of gore, but I rather liked the tact the record took, focusing on the unexpected comedic nature of the characters, rather than wallowing around in blood and guts, which, quite honestly, I don’t dig on a lot, except for when the mood strikes me. There’s nothing disagreeable with a miniature crop and dice, a puny hack and chop, a exiguous gouging and disemboweling, but there’s plenty enough of that out there as is, so it was a nice change of stride to dabble in the psychological rather than the visceral. I believe Buono did a improbable job in one of his few leading roles, presenting a character somewhat charming on the surface, but one tinged with a touch of the madness on the inside, ultimately making the best of his residence. As far as the other performers, most did well enough, but Harris was awkward to say the least…when he wasn’t as stiff as a board, he was contrivance over the top. He did earn a likely hero, but also an annoying one given his constant interference and seeming `know-it-all’ attitude. Yeah, yeah, he was a reporter, and perhaps this is accepted to their ilk, but he seemed to exercise more time wooing Berta and throwing accusations about than he did working his beat. I state it was a obliging thing, with regards to the myth, he was as he was, given the incompetence of the authorities depicted within this film. But then I grunt I’m losing examine this is dark comedy, and not a straight up fright film. There was some great appreciated nekidness, particularly on Ms. Field’s fraction…her facial features left a itsy-bitsy to be desired (too eastern European for my tastes), but she had an awfully nice, all natural body. The memoir moves along fairly swiftly, exhibiting no giant, gaping holes, but it did leave me wanting fair a limited, in terms of a pleasant disposition of the character Mrs. Kuntzmann (I consider that was her name) . This was the broken-down, cranky, vile, hairy mole on her face crone Otto initially attacked (with probable cause after meeting her), which resulted in him being sent to the mental hospital in the first residence. She makes a couple of appearances, verbally abusing Otto and throwing accusations about that he killed one of her precious cats (actually he did, but his intent didn’t seem that specific at the time) . If anyone in this film deserved to be turned into mince pies, it was this hag, and it never happened…ah well…my common portion of the film was advance the demolish, as the police view, in a manner of speaking, what Otto’s been using as source materials for his tasty sausages. As I said, the film does fade along well, providing some dependable tension here and there, culminating in better than expected fight scene between Mike and Otto, followed by a predictable, yet exquisitely appropriate, ending.
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The record quality, expose in widescreen (1.85:1), on this Something Unique Video/Image Entertainment DVD, looks very titillating and well-kept, and the Dolby Digital audio is decent, but a petite soft at times. As far as extras, there’s quite the cornucopia including a theatrical trailer for this film, along with ones for a slew of other Harry H. Novak films like Mother (1970), Axe (1977), The Comely, the Bloody, and the Bare (1964), Slow Locked Doors (1968), Caged Virgins (1971), The Child (1977), Frankenstein’s Castle of Freaks (1974), and Rattlers (1976) . Also included are a pair of short features, one titled Cannibal Island (9:49), featuring `authentic’ footage of cannibals dancing around and such, the second titled Cannibal Massage (20:05), which features a whole lot of the homoerotic. Finishing out the list of extras is a gallery of Harry H. Novak exploitation art, accompanied by Horrorama radio-spot rarities.
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“I form the best sausage in Vienna” claims the excited butcher (a paunchy fella by the name of Victor Bueno) . And so he does. People from all over advance to taste his well-known delicacies. Seasoned with Human flesh. Aw hell, not only seasoned, it is human flesh! That is the premise for this one. Did I mention he’s an ex mental patient? And he has a thing for nubile young women? Ok. so this is not the most unique of fare. Tranquil, this film succeeds in making you smile at its cleverness. Of course, later when your eating that sausage for dinner, this yarn has a scheme of popping up in your mind. Its cheap, its corny and its got a black irony that is hard to approach by these days.In a belecose yelp, the butcher says to one of his victims “you slut, how grievous and cheap you invent yourself..this is not a whorehouse!”. Then he throws her in the meat grinder and serves her up to the public. Luscious!
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Brother Embroidery Machines
… again, I digress…
