The Manitou Blu-ray Movie

Rating summary

Movie		3.0
Video		3.5
Audio		3.0
Extras		4.0
Overall		3.5

The Manitou Blu-ray Movie Review

Reviewed by Brian Orndorf April 4, 2019

“The Manitou” is based on a 1976 book by Graham Masterson, giving the screenwriters some guidance when exploring a completely bizarre premise. For some, the prospect of making a movie about a growth developing on the back of a woman that turns about to be the reincarnated spirit of a malicious Native American shaman would be daunting, perhaps impossible. Co-writer/director William Girdler shows no such hesitation with the project, moving full steam ahead with the wacky story, happily forgetting that perhaps Masterton’s imagination was best left on the page. “The Manitou” is an extremely serious take on extremely silly matters of spiritual danger, with Girdler doing his best to transform an odd point of stress and doom into a functional horror feature, and one with a trend-chasing sci-fi finale. The helmer strives to juggle such tonal changes, but the sheer effort to bend his weirdness into cinematic shape proves to be too difficult for Girdler to manage.

Karen (Susan Strasberg) is frightened, newly aware of a small growth on her upper back that’s expanding rapidly. Doctors are baffled, unable to identify what the problem is, with all evidence pointing to the development of a fetus under the woman’s skin. Trying to find comfort, Karen goes to ex-boyfriend Harry (Tony Curtis) for help, reconnecting with the amateur psychic, who cares deeply about her well-being. When modern medicine can’t remove the lump, which carries special powers capable of mind-control, Harry is left to figure out things on his own while Karen remains in the hospital. Reaching out to medium Amelia (Stella Stevens, painted brown for unknown reasons) and anthropologist Snow (Burgess Meredith), Harry finally makes his way to John Singing Rock (Michael Ansara), a Native American healer who identifies the lump as the coming rampage of Misquamacus, a Native spirit who’s looking for revenge.

San Francisco is the setting for “The Manitou,” and Girdler gives the city plenty of love. It plays almost like a travelogue at times, following Harry around town and beyond to interact with Karen as they rekindle their romance, and track his movement as he searches for possible answers for his lover’s growth. The feature looks good, but it’s almost too polished, mixing helicopter shots of the Golden Gate Bridge with the evil that’s growing on Karen’s back, losing a sense of intimacy with the specifics of this haunting, as Girdler gives the production a T.V. movie sheen. There’s no sin in a nicely shot picture, but “The Manitou” is dealing with more than few crazy turns of plot, requiring a directorial touch respectful of oncoming frights, generating a suffocating sense of ghastly events about to break out at any minute.

Karen’s lump concerns kick off the story, but Harry turns into the lead character, with the psychic fraud finally meeting the unknown with the return of Misquamacus, not fully understanding what he can do about it. One terrific character trait is Harry’s hair-trigger temper, willing to beat up anyone who doesn’t offer immediate help, but such rage is temporary, as “The Manitou” becomes a detective story, following the unsettled man as he reaches out to experts to find out what’s really happening to his lover. Snow provides possibility and Amelia, through a séance, contributes contact, leading Harry to John, who’s aware of the evil that’s contained inside Karen, agreeing to join the battle.

Such supernatural conflict emerges in the final act, but Girdler doesn’t have the budget or filmmaking sense to do something amazing with the resolution, which displays bloody men, a giant lizard, and the sight of Misquamacus, who’s a naked little person with iffy makeup. It’s not exactly the nightmare scenario promised throughout “The Manitou,” which soon takes off into another realm of consciousness and magic, blending in some elements from “2001” and “Star Wars” to compete in the marketplace. Girdler seems completely lost in the final 30 minutes of the movie, clinging to Masterton’s plotting but never figuring out how to bring such specific imagery to the screen.

The Manitou Blu-ray Movie, Video Quality 

Shout Factory offers a disclaimer at the opening of "The Manitou," explaining how the original negative for the movie has been lost, with the Blu-ray using a 4K scan of the inter-positive. The AVC encoded image (2.35:1 aspect ratio) presentation does look softer due to elements and cinematographic limitations, but detail isn't missing, finding textures on costuming that deal with felt, polyester, and cotton hospital wear. Locations aren't sharply dimensional, but distances are acceptable, capturing the scale Girdler goes for with many shots of San Francisco. Creature effects are also open for study, with makeup achievements and man-in-suit activity showcased. Colors are satisfactory, offer bright interiors with varied period paint jobs, including blueish medical center hues. Greener blasts of light are found during the séance scene. Skintones are natural and greenery is appealing. Clothing is also vivid. Delineation is adequate, dealing with nighttime horrors. Grain is quite heavy at times. Source is in fine condition, with some mild scratches and speckling detected.

The Manitou Blu-ray Movie, Audio Quality 

Also listed at the start of "The Manitou" is a mention that the 2.0 DTS-HD MA sound mix is a "restoration." Age is more obvious here, finding the volume fluctuating during the first two reels of the feature, and crispness isn't achieved. Intelligibility remains, handling dialogue exchanges, and violent reactions only hit a few distorted highs along the way. Scoring is not defined to satisfaction, but it supports as intended, offering a bigger sweep of orchestral force to create the forbidding mood. Atmospherics are acceptable, securing city bustle and hospital movement. Activity in a stairwell around the 90-minute mark exposes some damage, possibility inherent to the original mix.

The Manitou Blu-ray Movie, Special Features and Extras 

• Commentary features film historian Troy Howarth.

• Interview (11:00, HD) with David Sheldon details the producer's early days working in summer stock productions, giving him his first taste of show business. A move to L.A. followed, with Sheldon hoping to support his wife's acting career, only to find work with Lawrence A. Gordon and, eventually, Samuel Arkoff, learning how to deal with the industry from seasoned men. Meeting William Girdler, Sheldon triggered a partnership that survived the aborted release of "Abby" and enjoyed the success of "Grizzly." Sheldon also reflects on Girdler's death and remains candid about his true helming abilities. Some talk of "The Manitou" remains, but not enough.

• Interview (28:11, HD) with Graham Masterton examines the author's first forays into writing, creating stories as a child to sell to friends. Masterton experienced a move into journalism, sharpening his skills, eventually taking editorial positions with Mayfair Magazine and Penthouse. Reflections on his literary achievements are offered, including "The Manitou," eventually meeting with Girdler to help bring the novel to the screen. Talk of additional "Manitou" books is included, along with the challenges of adaptation.

• Image Gallery (6:56) includes publicity stills, poster art, lobby cards, press kit pages, newspaper ads, and VHS covers.

• T.V. Spots (1:32, SD) present three commercials for "The Manitou."

• And a Theatrical Trailer (2:22, HD) is included.

The Manitou Blu-ray Movie, Overall Score and Recommendation 

"The Manitou" is pumped up with a big score from Lalo Schifrin, and the cast is strong, filled with capable senior talent, with Curtis showing appealing dedication to the nonsense he's been hired to sell. Strasberg also deserves credit for her time with the lump, working hard to seem tortured and possessed, giving Karen's scenes some needed emphasis. It's the overall mission of "The Manitou" that's not satisfying, as the production tries to do too much in 103 minutes, dealing with a situation of personal torment and otherworldly revenge that demands a run time twice as long, just to feel out real hopelessness and, soon enough, detail battle plans for the post-birth showdown. Girdler doesn't show confidence with much here besides his valentine for San Francisco, unable to meet the demands of the genre with a surprisingly passive take on Native American vengeance, via lump rebirth.