Review for Madman

If you already know who old ‘Madman Marz’ is then this incredibly lavish edition of ‘Madman’ is probably for you. If you don’t know then read on as I am about to tell you (cue spooky music).

‘Madman’ is another in a long-line of ‘camping in the woods’ films that followed the unexpected success of low-budget hit, ‘Friday the 13th’.
Madman Marz is a grouchy, heavily bearded, wild haired, mad-eyed farmer who, so legend has it, chopped up his wife and two children into pieces. When the locals heard about the crime they rushed to his home and, after sinking an axe into his head, hung him from a nearby tree. But the next day, Marz’s body was gone. (Go on – cue that spooky music again).


Now fast forward to the present day (that being the very early 1980’s) and a group are gathered around a campfire in the woods exchanging spooky tales. When they’re all but finished, the camp counsellor tells the tale of Madman Marz and is serious about his warning that if anyone says his name aloud (or at least above the whisper he is using to explain it) then the farmer will rise from the dead and seek them out to slaughter them. Nice. So what do you think happens next? Exactly. One of the group starts yelling his name as loud as he can. Of course he did.


Cue a series of grim killings, some saucy lovemaking in the Jacuzzi, lots of corn-ball dialogue and the type of synth music you might make two weeks after buying a polyphonic eighties keyboard.

This is pure slasher nonsense from start to finish and, despite it being banned in the UK due to its copious blood-letting, it’s really not that gruesome compared to what passes as horror entertainment today. The blood looks red, the effects look rubbery (not bad, but rubbery) and occasionally it does make the hairs on the back of your neck stand up; particularly towards the end of the film when the last lady standing only gets up and goes into the old house, brandishing an axe. One axe wielding maniac is enough already.

You get the usual ‘they’re not back yet’ disappearances as the campers get picked off one after the other. The acting is all low grade cheese too so don’t expect any Oscar winning turns. Even the old man is played in a hammy, over the top way by a man who was never supposed to be an actor in the first place (but according to the extras, has dined off the experience ever since).


On the plus side, the film never over-extends or attempts to be anything other than it is. You kind of know what you’re getting and it delivers.
On the other good news front, the disc is packed with extras. There are two commentaries as well as a feature-length documentary tracing the history and production of the film, spruced with interviews with cast and crew.
Picture quality is excellent, despite it being decidedly low-budget, with a brand new 4K transfer from the original camera negative. Audio is mono but uncompressed PCM on the Blu-Ray and sound s pretty good to me.
There’s something of a 35 year reunion with Sales, Ehlers and Madman star, Tom Candela reflecting back on the film after 35 years and marvelling at its fan-base today.

Also included is a fascinating insight into the early career of Gary Sales who, fresh from film school was swiftly ensconced in the burgeoning porn film industry before deciding that horror was the future. You’ll also find convention interviews with Sales and Ehlers and a mini-feature on music inspired by Madman including the track ‘Escape From Hellview’ from former CKY frontman Deron Miller.


There are some touching remembrances for those who served but have passed away, including Sales partner in crime, director Giannone and actor Tony Fish.

Finally there is a round of mop-up extras like the Original Theatrical Trailer, some TV spots, and an artwork gallery with commentary by Sales.
As this is an Arrow release (yay!) you get a reversible sleeve and a booklet featuring new writing on the film by critic James Oliver, illustrated with original archive stills and posters – neither of which I’ve seen personally, though the image of the cover looks great.

In short, this is pure low-budget, cliché-riddled 80’ slasher horror. Which is either a good thing or a bad thing depending on your point of view. Whatever the case, no one can argue about the fantastic quality of the transfer and the sheer volume of extra features.