Since at least the time of Sweeney Todd, the barber who killed his customers and turned them into pies in the early 19th century, enterprising business people have been selling human meat to their customers. In Soylent Green, the US government does a roaring trade in it, and demonstrates sustainable recycling, well before it became fashionable. It’s a trope that is enduringly popular, because it offers metaphors for the fears people hold about their own society. Who among us has not suspected we have been exploited, chewed up and spat out at some time? Except for those doing the chewing up of course.
The movie was originally called Maxie, but that must have been a bit subtle, as it was renamed for marketing purposes to The Butchers or sometimes Murderer’s Keep. The lead character is a young girl named Maxie (K.T. Baumann) – a difficult role as Maxie is a deaf mute who witnesses the local butcher chopping up dead people for his shop, and is kidnapped by his assistant to ensure her “silence”. They’re afraid she is going to learn to talk. It’s complicated (not really). Baumann expresses what most actors get to say by using her face, movements and sounds, and she is very impressive.
The butchers are Smedke (Vic Tayback from Bullitt as well as bit parts in almost every TV show ever made) and his half-witted assistant Finn, played with gusto by Robert Walden (Lou Grant and lots of other shows). The problem is that, as horror movie villains, they are neither scary nor villainous. Except for their business practices, they are quite sympathetic characters. The gore we usually associate (expect?) with cannibal movies is mainly the result of Finn, the apprentice butcher, screwing up the slaughter of some unfortunate hens. We see that in gory detail, as if the director wants us to question whether it’s worse to eat a living, breathing animal fighting for her life, or a dead body who can feel nothing. The scene reminded me of the gratuitous animal cruelty in Cannibal Holocaust and other Italian cannibal movies, which were supposedly added to make the audience think the violence and cannibalism were real. No such pretence here – they just kill chickens. Life is cheap.
Smedke is buying human corpses, wrapped in brown paper, from a shipping yard (no further explanation is offered) and happily chopping them up for customers who don’t want to pay the prices he charges for the regular cuts. His refrain is:
“Meat is meat! And a man has to make a living.”
A refrain that is lost in this film, but was used to great effect a few years later (“meat is meat and a man’s gotta eat!”) by the ever-cheerful Rory Calhoun in Motel Hell. Smedke is an entrepreneur in Nixon’s America, which is careering toward neo-liberalism, Reagan and “greed is good”. Although he doesn’t get to expand on his philosophy, it seems clear that a dead body is worthless buried, so it might as well be bought and sold.
The interesting aspect of the ‘plot’ is that Maxie cannot tell anyone what she has seen (basically a human foot sticking out of the brown paper) and has no social skills since her father has kept her at home rather than risk her humiliation at school. Yet she can take an ethical position – she tosses out all the meat in her father’s fridge, choosing vegetarianism.
This barely ranks as a B movie, and while I have reviewed a few films on this blog that got a fat zero on Rotten Tomatoes, this might be the first that did not even get onto the site at all. Check this less than glowing review:
“Miekhe… ends up creating the cinematic equivalent of a staph infection, an oblique mess that just spreads and oozes across the screen like fissures on an untreated leg gash. By the end, you aren’t hoping for closure so much as a conclusion – ANY conclusion – just to get us out of this asylum as anti-horror film… And yet, for all its baffling movie machinations, its lack of gory goodness and substantially less than successful storytelling, The Butchers is still a fascinating film experience.”
Indeed, it has a certain fascination if you can navigate through the paper-thin plot – it is a glimpse of small-town America in 1970 as it moves from the optimism of the sixties to the rapacity of the seventies. The cast are mostly great, particularly Baumann and Walden. Talia Coppola, (aka Talia Shire, the sister of Francis Ford Coppola) is shown as a star on the credits, although she has a minor role in the film. She played Connie Corleone in the Godfather series, and Adrian Pennino in the Rocky films, and was nominated for an Oscar in both roles. She is a bit wasted here.
The music is quirky, sometimes totally inappropriate and never boring or obvious like so many horror films. And sometimes it’s just fun to watch a film that no one has heard of, and probably no one ever will. And it asks the key question of cannibal studies: why do people find the killing and eating of some animals unremarkable and others repulsive?