Superbeast Transcript Disc Music Cues 1972 Richard LaSalle Single Side Acetate

$

500

Ultra Rare Single Side Acetate from Mayfair Recording Studio featuring tracks from the 1972 creature feature Superbeast a film near and dear to Rob Zombie amongst other horror fans. These tracks were never released Commercially as most of LaSalle's soundtrack remains lost to the ages.  

Mayfair Recording Studio Inc. 701 Seventh Ave NY United Artist Music  Superbeast Soundtrack
Main Title The River Trek The Airport Caper Fleming Goes Wild The Stalk
Superbeast is a 1972 American horror film written and directed by George Schenck and starring Antoinette Bower, Craig Littler, Harry Lauter, Vic Díaz and Jose Romulo. It was released on November 1, 1972, by United Artists.[1][2] It was released as a double feature with Daughters of Satan. It was the last film to feature Harry Lauter, who retired in 1979 before his death in 1990.
Plot A doctor finds a jungle laboratory, complete with mad scientist and genetic engineering experiments. Dr. Bill Fleming (Craig Littler) is experimenting on convicts and once they are driven mad with the experiments, they are sent into the jungle where they are hunted down by the project's financier, Stuart Victor (Harry Lauter). Pathologist Dr. Alix Pardee (Antoinette Bower) finds out about the project, is captured and held captive. But she manages to turn the tables on Dr. Fleming and Victor.
In the Philippines, a desperate man takes an identity of a passenger and flies to the US. During the flight, the man becomes violent and it forces the plane to land in Guam. Once there, the man, who has now become deformed, is killed by security guards. After Dr. Alix Pardee examines the body, she becomes interested in his condition and decides to go to the Philippines to investigate.
During the flight, she sits next to a man named Victor, where they exchange pleasantries. Later, she meets Victor again on a boat that's taking her to Pangan where another man with the same deformities was found. When Alix mentions Victor to the Captain, he claims there's no other American on board, and when she goes to his room, someone else is residing there.
In Pangan, Alix is greeted by Dr. Raul Rojas, who's been studying that man and wants to investigate as well. They make their way to a remote village where the man was found. After interviewing a man who was shot, they take a dug out canoe downstream to where he said he saw the man. During the trip, they go over a high waterfall and Rojas is assumed killed.
Alix wakes up in a bed in a plantation in the jungle. She is greeted by Dr. Bill Fleming. While looking outside, she recognizes Officer Diaz from Pangan as well as Victor, who is not happy that she's here. Fleming then shows her around. He explains that he's working on a serum that turns violent people normal, and that Diaz would supply him with the convicts he needed to do his genetic engineering experiments. He then admits that some of his test subjects relapse and become more violent.
Because of her Pathology background, Fleming becomes friendlier with her since she could help find the solution to his serum. Alix is allowed to go around the plantation as she pleases. One night, she sneaks into the lab and takes a sample of the serum, and then recognizes one of the convicts locked up, though he never showed any signs of aggression.
The next morning, she is awakened by gun shots. Fleming then explains that when his test subjects relapse and become violent, they go into a metamorphosis that turns them into a primitive beast, yet with the same intelligence, hence the name “Superbeast”. He also explains that Victor is an oil tycoon and big game hunter. When he needed money to continue his research, Victor would provide him the money, provided that when his test subjects become superbeasts, he would be allowed to hunt them down, which is what he did with the previous test subject.
Diaz would announce that he filed a police report stating Alix and Rojas was killed, which meant that Alix would have to be killed. During lunch, Alix gives Fleming a drink laced with the serum. After drinking, Fleming's looks and mannerisms begin to change. As he looks in his lab for a possible cure, he becomes violent and pushes Alix unconscious. As he walks out, Victor is there with his gun, forcing him into the jungle so he can hunt him down. After Victor kills Diaz and a helper, he goes after Fleming. By nightfall, Victor tracks Fleming back to the plantation. Victor shoots a servant girl before Fleming sneaks behind him and bludgeons him to death. After tearing up his lab, he notices the convict that hasn't deformed or become violent. Alix reveals that he's your success and that the serum worked.
The next morning, Alix, the convict, and a couple more patients are allowed to leave. Once they crossed the bridge, Fleming destroys the bridge, allowing him to live the rest of his life in solitude.
Cast Antoinette Bower as Dr. Alix Pardee Craig Littler as Dr. Bill Fleming Harry Lauter as Stewart Victor Vic Díaz as Mondo Diaz Jose Romulo as Vigo John Garwood as Ray Cleaver Manny Ojeda as Dr. Raul Rojas Bruno Punzalan as Datu Alex Flores as Sloco Roderick Paulate as Pepe Ricardo Santos as Benny Nanita as Lupe
I know virtually nothing about Superbeast, other than United Artists released it in New York City on November 1, 1972, as the bottom part of a double bill with Daughters of Satan. Trivia complete; let’s continue now to something I can tell you about: what I thought of it. I kind of liked it. It’s an intriguing combination of The Island of Dr. Moreau and The Most Dangerous Game, by way of Eddie Romero (although the prolific Filipino filmmaker had nothing to do with it.)
Warning: spoilers ahead!
The movie starts at a brisk pace (that it will certainly not maintain) as a man, later identified as Ray Cleaver (John Garwood), comes down a mountain and races in a frenzied state from Manila General Hospital to Manila International Airport to Guam. If it’s a little hard to tell exactly what’s happening, the events will later be summarized when he’s killed coming off his plane in Guam. He’s an ex-Navy man arrested in Pangan for smuggling hash who subsequently stole a pickup and an airline ticket.
Pathologist Dr. Alix Pardee (Antoinette Bower) dons her jeans and high heels to investigate the strange events following an autopsy that we don’t see, but results in the coroner saying, “Wow.” She meets Dr. Paul Rojas (Manny Ojeda) and they begin a journey to the location where Cleaver was found. To go all the way, though, there are no roads and they must travel by canoe. Unfortunately, they encounter some rapids and tumble over a waterfall. When Pardee awakens, pieces of the puzzle start falling into place.
The handsome Dr. Bill Fleming (Craig Littler) greets her and later explains his benevolent experiments. He’s an authority on sedatives, hallucinogens and “other drugs,” that was shunned in the United States. Setting up shop in an old plantation, he believes he can rehabilitate the most hardened criminal and has an arrangement with constable, Mondo Diaz (Vic Diaz), to use local criminals as test subjects. (Now there’s a solution to prison overcrowding.)
It turns out Cleaver was one such subject that escaped. Fleming’s serum causes people “to go through a physical sociological metamorphoses” and take “an evolutionary step backwards.” However, their minds stay intact and they are able to think like the men they once were. He’s isolated the part of the serum that causes the regression, but is so far unable to keep his experiments stable for more than ten days. Ah, maybe the visiting pathologist can help him.
This is all well and good; however, the movie may be only halfway to its conclusion. Layered on top of this Island of Dr. Moreau concept is that fact that Fleming had run out of money and approached Stewart Victor (Harry Lauter) for funding. Victor agreed upon one condition: let him deal with Fleming’s “mistakes.” Here’s the Most Dangerous Game angle. Victor hunts these mistakes for sport. This is the part that appalls Pardee and causes her to take action.
Her escape plan is a little drastic and ill considered, if you ask me. It seems out of character for someone so concerned with the humanity of it all, to secretly feed Fleming his own serum. She does it because, when regressed, the patients are highly suggestible and she thinks she can convince him to release her from her jungle prison. This leads to a climax where Victor finds it “ironic” that he’s now hunting Fleming, the “superbeast.” Whew, that’s a lot of plot! I like it though.
Superbeast is a low budget movie that doesn’t necessary feel low budget because the concept matches its scale. For example, it appears to be filmed entirely on location, making it look authentic. There are no manufactured locations and the movie doesn’t employ stock footage. So, on the crowded streets of Guam or deep in the jungle, you’d expect to find some grit and grime. Luckily, were in the 1970’s, so real life and the filmmaking quality go hand-in-hand.
So do the dialogue and the vernacular. For example, Pardee “digs” what Fleming is trying to do (but can’t condone the end result.) Earlier, when a man says about Cleaver, “He was pretty freaky, huh?” Pardee responds, “Quite freaky, yes.” I didn’t hear the word, “groovy,” but it wouldn’t be out of place in Superbeast. Nor would the non-verbal cues. When one of Fleming’s experiments gives Pardee a small gift, she thanks him by flashing a peace sign.
While barely seen, the makeup effects are pretty good, especially when Fleming transforms. The way he scrunches his nose evokes Planet of the Apes, so I’m not surprised to read that John Chambers was employed as “special makeup artist.” The primary “makeup artist,” Fred C. Blau Jr., later contributed to Tim Burton’s 2001 version of Planet of the Apes, and has a list of other impressive credits. Adding to the effect is a lot of handheld camerawork that doesn’t allow our gaze to linger.
Superbeast is a lot of plot-heavy fun, but not necessarily action-packed. Writer/director George Schenck squanders an opportunity to have a thrill-packed climax by focusing only on Victor as he stalks Fleming in the jungle. By not providing alternative shots that show the location or actions of Fleming, there’s no suspense. And it’s ultimately disappointing if you expect a big focus on the monster.
Richard LaSalle (January 18, 1918 – April 5, 2015) was an American film score composer.[1][2][3]
LaSalle was born in Louisville, Colorado. He began as a performer for local hotels as a pianist and orchestra leader between the 1940s and 1950s. In 1958 he joined the American Society of Composers and Publishers in which started his main career in film composing.[4]
Selected filmography Tank Battalion (1958) The Big Night (1960) Sniper's Ridge (1961) Naked Youth (1961) Gun Street (1961) The Purple Hills (1961) The Clown and the Kid (1961) Deadly Duo (1962) The Broken Land (1962) Hands of a Stranger (1962) Incident in an Alley (1962) The Firebrand (1962) The Day Mars Invaded Earth (1962) Diary of a Madman (1963) California (1963) Police Nurse (1963) Twice-Told Tales (1963) The Quick Gun (1964) Blood on the Arrow (1964) The Time Travelers (1964) Apache Rifles (1964) Fort Courageous (1965) Runaway Girl (1965) Convict Stage (1965) Arizona Raiders (1965) Ambush Bay (1966) Don't Worry, We'll Think of a Title (1966) Boy, Did I Get a Wrong Number! (1966) 40 Guns to Apache Pass (1967) City Beneath the Sea (1971) Superbeast (1972) Daughters of Satan (1972) Piranha, Piranha (1972) Doctor Death: Seeker of Souls (1973) The Thirsty Dead (1974) Flood! (1976) Fire! (1977) The Amazing Captain Nemo (1978) Hanging by a Thread (1979) The Memory of Eva Ryker (1980) The Night the Bridge Fell Down (1983) Cave-In! (1983) External links