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Herschel Gordon Lewis: The Godfather of Gore is an American documentary from 2010 that explores the career of the incumbent filmmaker. It was directed by Frank Henenlotter (Bad Biology; Frankenhooker; Brain Damage; Basket and sequels) and Jimmy Maslon.

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For many of us, Herschel Gordon Lewis will always be one of the shining stars of horror. Of course, his films were brutally shot, badly played and in some cases they are now horribly dated, but that’s what makes them so great. Although he has virtually no money to his credit, Lewis has managed to create a whole subgenre that is just as relevant today as it was then. 2,500 Film Contest

John Bloom, a.k.a. Joe Bob Briggs.

If you’ve ever seen one of Lewis’ films, especially Feast of Blood, you know that sometimes they can be a bit slow and boring. That’s not the case with the documentary about Lewis himself. Even when it comes to films that no one has ever heard of, Lewis’ enthusiasm (at the age of 81) is always contagious. Those who know Lewis will love this film, and those who don’t will be fascinated by the madness. List of DVDs


…there are clips of lost footage you’ve never seen before. For the beginner this can be a kind of revelation (or even a spectacle), because in this way Herschell’s work can be placed in its own socio-political context. In a way, he was pursuing the American dream […] If there is a weakness in this film, it is that it is too long and subsequent scenes do not always have the impact of the previous one…. Eye for the cinema

Wells Lewis fans can’t go wrong with Herschel Gordon Lewis: The Godfather of Gore, who captures the excitement of making underground movies on forbidden subjects that shock and deter modern sensibilities. As Lewis says: That was the point of doing something outrageous. And as far as that’s concerned, yes, we can do it. To which Friedman adds: We had fun. Hong Kong and Cartoon Network News

What Henenlotter and Maslon have managed to do here is to recreate the atmosphere created by their subjects, which they feel more as a tribute than as a critical dissection. One might think that a documentary should be more objective, and I tend to agree. In this case, the one-sided approach is acceptable because the purpose and position are indicated in advance; there is no deception in this work. Information about home cinema

Director – and Herschell Gordon Lewis Fan – John Waters

As someone who has never seen an HGL film before and has no intention of making one, I warmly recommend this very well made documentary (cut, but not cut), which serves both as a quick study of a dazzling cinema of yesteryear and as a fun return to what filming and the box office used to look like. Horror.com.

. the more he progresses, the more dissatisfied he becomes, and in the end we find that he never digs beneath the surface to explore the deeper meaning of what Lewis has done and the lasting impact he has had on popular culture. It will simply be hung down and the top-up over… Grobschnitt

Gale – Janice in Taste of Blood (1967)

Henenlotter brings a generous sense of liveliness into the work, in which the sogar cutting of interviews with himself is inserted into the documentation, in which it becomes clear how many of Lewis’ films were actually made. Lewis und Friedman also spoke very clearly about the material and pointed out that they had made a terrible mistake. It is easy to see that the film maker team recognizes that their work was not misinterpreted if the fact is that some of them were simply bad. Bildschirm Anarchy

He-Devils-on-wheels (1968)

Locks and Maslon really should have done more to mark Lewis’ performance. There is the Scharlatan schlechthin, a but American independent film maker, and yes, a Schöpfer of absolutely zero Dreck. When you’re on the last page of Lewis’ lazy Legend, you’ll only get further. slim magazine

Beamlight as Montag the Magnificent in The Wizard of Gore (1968)

I’m glad Lewis had a long time to finish it. Henenlotter shows all kinds of love and appreciation for this man, because it is a tribute worthy of what one could ask for. Just hearing him sit down and tell stories about cinema would have been enough, but it is the care and the heart that has been put into the film that really shines. Vacuum for video



Mel Arnold… My name is John Bloom, a.k.a. Joe Bob Briggs… I’m Jerome Eden… IDavid F. Friedman… Henenlotter’s Self-Frank… SamoDaniel Krogh… SamoHerschell Gordon Lewis… Even Connie Mason… Samo (archive footage) Stephen Poster… SamoAndy Romanoff… My name is Ray Sager… My name is Vincent Santo… My name is Kevin Thomas… I’m Catherine Thornton… A visitor to the puppet theatreJohn Waters… I’m the Yeager rabbit… Я


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