“BLOOD, BOOBS & BEAST” (2007)

Starring: Don Dohler, Joe Ripple, J.J. Abrams, Tom Sullivan & Tom Savini
Directed by John Paul Kinhart
Official Website

Polly Staffle Rating: ***

Though all nine of his sci-fi/horror/exploitation films have been distributed internationally and one has found its way to cable television, most people have never heard of Don Dohler. Those that have seem to either love or hate the work of this b-movie filmmaker. His fans say his movies are brilliant. These are the people that fully understand how the no-budget entrepreneur has been able to find a bit of success. Others are left scratching their head. They feel his films are absolutely terrible.

John Paul Kinhart’s “Blood, Boobs & Beast” takes an in-depth look at Dohler. Telling the story of a filmmaker with such diverse criticism could go a number of ways. The focus could be the fact Dohler has become an Ed Wood-like cult figure. He could also be glorified as a Baltimore independent movie icon in the same vein as John Waters. Of course the even better way of dealing with Dohler would be getting to know the man behind the odd films. Though its title might have you thinking otherwise, “Blood, Boobs & Beast” does just that.

It’s almost as if Dohler is torn between two completely different lives. He’s a simple man that enjoys spending time with his family. He’s a loving man that takes care of his mentally challenged sister. He’s a moral man that doesn’t really enjoy graphic violence and nudity; so much so he supposedly protested the name of this documentary. Lastly, Dohler never really intended to be director.

But at the same time Dohler is a man of action. He doesn’t sit around waiting for things to come his way. He dabbled in filmmaking since he was 12, began self publishing a Mad magazine-esque zine called Wild at 16 and a super 8 special effects how-to magazine called Cinemagic in his late 20’s, but he had never produced a feature film. In the late 1970’s when life dealt Dohler a scary situation, he used it as motivation to write the science fiction screenplay he had always dreamed about. When he got together a batch of people to help fund the film, they decided Dohler should be the one to direct it.

The year was 1976. “Star Wars” helped to spawn a need for science fiction films and Dohler’s first film “The Alien Factor” just so happened to fit the bill. That helped the movie get TV syndication. With that cult success story, the filmmaker was born. For the next 12 years, Dohler wrote and directed four other films - “Fiend,” “Nightbeast,” “Galaxy Invader” and “Blood Massacre” - from his home.

By 1988 he was no longer feeling passionate about his work. Science fiction was out and his movies were now more horror oriented. He also wanted to spend more time with his family, so he retired from the business.

Eleven years later, Dohler got the filmmaking bug again. “Alien Rampage,” later dubbed “The Alien Factor 2” when Fred Olen Ray distributed it, was the result. Dohler wrote, directed, edited and co-produced the film and also found a partner in crime on the set in cop-tuned-actor Joe Ripple. The duo founded Timewarp Films and began shooting digital. Ripple took the directing reins. Dohler never really wanted to direct and was content with behind the scenes magic. Together they delivered the horror features “Harvesters,” “Stakes” and Dohler’s most successful film “Vampire Sisters.” With each release, the films became more and more exploitative. Ripple says blood, boobs and a beast are essential, “If you don’t have these three things, then your film is not going to be successful.” Dohler doesn’t necessarily agree on a personal level, but he goes along with Ripple’s thinking because it seems to be working from a business stand point.

It’s at this point in Dohler’s life that Kinhart’s documentary steps in. Ripple and Dohler are working on their next film “Dead Hunt.” Viewers follow along through the complications the independent film faces. Ripple ends up having to fill in for one of the lead roles when an actor bails on them. He also retires from the police force and takes a new job as a nurse. His new hours make it impossible for him to direct. Dohler finds himself again in the director’s chair.

Completely sick of making movies filled with gratuitous nudity, Dohler decides to change the ending of the film. Dohler simply wants to make the best movie he can. Lately, Dohler’s been kicking around the idea of retiring once again. He recently became the guardian of his sister, he has a new grandchild in his life and has a girlfriend that he’s thinking of marrying. Dohler’s also not having fun anymore.

The film is completed and premieres. Dohler retires. This is the greatest lesson we can learn from this man. We never know what our future’s hold. We never know when we may lose a loved one. If there are things we always wanted to do or always intended to do, we must do them. In following his heart, Dohler begins his career in filmmaking twice and he also walks away from the business twice.

Shot on a budget of $12,000, this film is campy, funny and also sad. Kinhart shot over 100 hours of footage and conducted more than 30 interviews, spending two and a half years filming and editing this project. Among those interviewed are filmmakers influenced by Dohler such as horror effects masters Tom Savini (“Dawn of the Dead” and “Friday the 13th”) and Tom Sullivan (“Evil Dead Trilogy”), as well as writer/director/producer J.J. Abrams (“Lost,” “Alias,” “Joy Ride” and “The Pallbearer”) and Troma Entertainment president Lloyd Kaufman (“The Toxic Avenger”).

I enjoyed most of the interview footage included, except for two fans. The duo are “super” Dohler fans that can recite dialogue of his early films line by line. I felt these guys really cheapened the feeling of the movie. They try really hard at humor and fail miserably. My other big gripe is how rapidly the film ends. Obviously what happens, which I will not disclose, was unforeseeable. But the audience spends so much time with Dohler for most of the movie that the ending seems jarringly rushed.

Overall though, Kinhart does a good job at telling Dohler’s story. I’ll admit that I always have a soft spot for documentaries about filmmaking. “American Movie” is one of my all time favorite films. “Blood, Boobs & Beast” isn’t quite “American Movie.” But it does offer a touching story that one doesn’t have to be a film geek to enjoy. It also explores this cult figure on a humanistic level and gives Dohler the respect he deserves as a filmmaker.

- CCF, April 2007