Gas-s-s-s

Reviewed by: C.D. Workman
Released by: Olive Films
Released on: October 18, 2016
Directed by: Roger Corman
Cast: Bob Corff, Elaine Giftos, Bud Cort, Tally Coppola (Talia Shire), Ben Vereen, Cindy Williams, Alex Wilson, Lou Procopio, Phil Borneo, Alan Braunstein, Jack Farley
Year: 1970
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The Movie:

As the film begins, an animated opening sequence with an army general sounding conspicuously like John Wayne (it wasn't) tells viewers that an accident has occurred at a military facility and a gas has escaped, killing everyone over 25 years of age. As the action proper begins, we learn that the cities are being taken over by newly formed fascist armed forces of the young, and that includes Dallas, Texas. A young hippie, Coal (Robert Corff), meets beautiful young Cilla (Elaine Giftos), and the two run off together, leaving the city behind. In their travels, they meet armed cowboys, a psychedelic rock band (Country Joe and the Fish), and another group of young people that includes Marissa (Cindy Williams), Carlos (Ben Vereen), and Coralee (Talia Shire, credited under her real name, Coppola). They also encounter bikers and footballers, all the while following signs that point toward an oracle who can help them make sense of the new world of which they're a part.

Gas-s-s-s is a chore. A youth-oriented comedy/science fiction hybrid, it's horribly dated today. The comedy isn't particularly funny, though the science fiction aspect (a post-apocalyptic, dystopian future) couldn't have been more prescient in predicting the tastes of young adults in the new millennium. The film was directed by Roger Corman, not-so-fresh off his Edgar Allan Poe cycle; in fact, he pays homage to his past with the character of Edgar Allan, a bike-riding poet who wears black, sports a mustache, and bears a raven who cries “Nevermore!” on his shoulder. It should be funny, but little in the film is, other than a line or two here and there. It seems strange that Corman could have made a film this bad, just three years after his masterpiece, The Saint Valentine's Day Massacre (1967). Of course, it wasn't entirely his fault; producers AIP, who fronted the money for the picture, had no qualms about editing it without Corman's involvement, including a scene involving God that Corman was particularly proud of.

Because of the tinkering of this film and the reception of his next, Corman retired from directing shortly thereafter to focus exclusively on producing. He started New World Pictures to fund and release the films of other, younger filmmakers, and it proved a winning combo. Corman briefly returned to directing twenty years later with the science fiction/horror hybrid Frankenstein Unbound (1990), and he makes corny low-budget films for SyFy to this day.

There is one reason to watch Gas-s-s-s: the acting talent on display. Bud Cort later starred in Harold and Maude (1971), Talia Shire in the Godfather and Rocky series, Ben Vereen in Funny Lady (1975) and All That Jazz (1979), and Cindy Williams in American Graffiti (1973) and the television series Laverne & Shirley. George Armitage became a director in his own right.

Video/Audio/Extras:

Olive Films has leased Gas-s-s-s from MGM, who owns the AIP library, and released it on both Blu-ray and DVD. The film had previously been released in standard definition as part of an MGM Midnite Movies Double Feature with the biker classic Wild in the Streets (1968). The version reviewed here is the DVD, which is taken from the same hi-def master used for the Blu-ray; it's a considerable step up from the previous DVD release and looks quite good, so good, in fact, that it practically looks like high definition itself. Colors are extraordinary. The film comes from a period in cinematic history when colors were frequently toned down, betraying an earthy tone. That's partially true here; there are lots of browns and mustards and burnt siennas, but every frame has some object, whether it be someone's clothing or a decoration, that pops off the screen. Pastels such as yellows, greens, and reds fare particularly well. Colors aren't the only thing that benefits from this new transfer; fine detail is surprisingly high, as can be seen in brighter sequences. Right from the beginning one can spot the finest of details in red brick walls and perfectly trimmed green bushes. That detail level drops a bit during darker sequences (most of which take place at night); yet the portions that are well-lit still look great. The grain structure is about what you would expect from a BD, not a DVD, meaning that it's more obvious than what you generally get on DVD. It appears organic, providing a nice foundation for Corman's frames.

Olive has opted for an English Dolby Digital 2.0 track. The sound is very good, given just how much of the movie's soundtrack is made up of late '60s rock music. Most of that music comes from real-life band Country Joe and the Fish, a Woody Guthrie-inspired psychedelic group that formed in 1965 but disbanded the same year Gas-s-s-s was released. The 2.0 track does well by the sound, without the artificial separation of music, dialogue, and sound effects that sometimes accompany remastered 5.1 tracks. There are no alternate tracks, not even a commentary, though there are English subtitles for the deaf and hearing impaired; these repeat even the wording that appears on screen.

The only extra is the film's original theatrical trailer (3:07).

The Final Word:

Gas-s-s-s is not the most exciting—or even interesting—of films. Corman seems a bit lost aiming films at a generation he himself hadn't been part of for so many years. The film isn't without its merits, however, particularly in its showcase of the music and language of the era. None of this affects the image and sound. Olive's presentation looks and sounds terrific, with a vibrant image that is colorful and richly detailed. People who love the film will probably opt for the Blu-ray, but this DVD is a nice, slightly more economic, alternative for fans who are a little more moderate.

Christopher Workman is a freelance writer, film critic, and co-author (with Troy Howarth) of the Tome of Terror horror film review series. Horror Films of the 1930s is currently available, with Horror Films of the Silent Era: Book One (1895-1915) and Book Two (1916-1929) due out later this year.