The Toolbox Murders
aka Der Bohrmaschinenkiller
aka La masacre de toolbox
aka Lo squartatore di Los Angeles
Director: Dennis Donnelly
Starring: Cameron Mitchell, Pamelyn Ferdin, Wesley Eure, Tim Donnelly, Aneta Corsaut, Kelly Nichols (as Marianne Walter)
Running time: 93 minutes
Genre: exploitation, slasher, thriller, psychodrama, video nasty
“If I had a hammer…”: Toolbox Murders shows its giallo roots in an extended opening credit sequence of a black-gloved killer driving though darkened city streets. Only, instead of a pimptastic score by the likes of Riz Ortolani, we hear a more generic thriller/psychodrama piano score, overlaid with the sounds of a hellfire n’ brimstone preacher on the car radio. The vehicle cruises smoothly along, but then FREEZEFRAME! The sound of screeching tires! Illuminated by arc-sodium lights, a car has crashed on the side of the road. A young girl tumbles out of the passenger side door. A crowd gathers as paramedics place her on a stretcher. She’s young, blonde, with a bloodied face and staring eyes. Her hand falls limply off the stretcher as they cover her face. Something Significant has happened. Cruising resumes, and the Mercedes pulls up outside El Patio del Sequoia apartments, and a man with a toolbox gets out and enters the complex. Once inside, he cuts a gruesome swath through the apartment’s female residents, beginning with faded beauty and lush Mrs Andrews. Though surprised by the killer’s appearance, she clearly knows him … . Finishing her off with his powerdrill, our skimasked killer hums a little tune and contemplates his work.
Meanwhile young divorcée Debbie arrives home and–in one of the least logical sequences in movie history–prepares to take a shower fully dressed, for the sole reason of creating a wet shirt effect and leading to a lengthy change of clothes. Fortunately, boobage redeems the scene. Debbie evidences poor decision-making skills when she pops into the apartment hallway in her underclothes to pick up some … debris left outside the door? Fortunately, our killer happens upon her and, popping her on the chin in a singularly goony moment, renders her unconscious and bears her off to the firestairs, where she is summarily dispatched with the claw end of a hammer. He then removes her corpse from the stairwell and carries it BACK to her apartment (and we thought only Debbie was crazy!), where he lays her out on the floor only to be interrupted by roommate Maria. Pissed at Debbie for leaving trash in the hallway, Maria is both shocked and saddened by her grisly discovery, then surprised by our killer. The shock renders the poor sap apparently speechless, and when the slayer slaughters her with a screwdriver, it’s all Maria can do to sum up a sorry little scream. (That was excessive, and I am sincerely sorry!) The killer then takes a moment to spy upon the neighboring Camelot Apartments, where a temptress gyrates in her underwear before a wide open window, while one floor below an innocent schoolgirl chats on the phone. His bloodlust not yet sated, the killer ventures back into the hallway, where he opens a door and glimpses a couple discussing the merits of drugstore wine. Discouraged by the presence of a man, the killer leaves and the killing stops … for the evening.
The next morning briefly introduces us to the Ballard family: Matriarch and alcoholic B-girl Joanne, perky teenager Laurie (Pamela Ferdin, also the voice of Charlotte’s Web‘s Fern Arable and Charles Schultz’s Lucy van Pelt!), and older brother Joe.
Evening falls again, and we meet Dee Ann (played by Penthouse Pet and future porn star Kelly Nichols!), the window siren from the previous night. As she all unknowing draws herself a bath, the Toolbox Murderer approaches the Camelot Apartments, eponymous toolbox in tow. What follows is surely one of the most gratuitous nude/masturbation scenes in all slasherdom as Dee Ann soaps up an lets Calgon take her away to her special place to the dulcet tones of George Deaton & Terry Stubbs’ “Pretty Lady.” After she achieves orgasm, Dee Ann comes out of her stupor to the sound of the killer’s humming. As suits her more sexually forthright character, when faced with his nailgun Dee Ann not only actively tries to evade him, but also fights back, scrambling around her apartment naked and wet as a frog and tossing vases. She feigns submission, offering him “anything,” but tries to run again, finally catching a nail to the abdomen. The killer props her up beneath a nude poster of herself, then nails her right through the head. End “Pretty Lady.”
Finished with the whores of the world–for now–the killer sneaks downstairs to the Ballard apartment, where Laurie is again demonstrating her virtue by refusing to sneak out (presumably with a boy). After all, she doesn’t want to end up like her mother said, “either divorced or with a bunch of kids and a crappy job like [hers].” Who knows how she’ll end up, however, since the killer kidnaps her. At least she isn’t dead yet! When Joe gets home late that night, he finds the security chain cut and Laurie missing. Jo Ann stumbles in moments later, and orders Joe to go looking for his sister–and that’s when we hear the shrieks from the discovery of Dee Ann.
Convinced that Laurie’s disappearance is related to the murders, Joe pleads for help from the police, who are content to dismiss her as a typical runaway teen. Total Dick in Charge of the case Sergeant Cameron scoffs at Joe’s concerns, mocking the poor guy, who departs in a huff, vowing to find his sister himself. Sgt Cameron is no Lt Fuller. Armed with earnestness, Joe goes to El Patio del Sequoia looking for clues, and meets up with the super’s nephew Kent. Kent enlists Joe’s help to clean up the bloodied apartments, and Joe in turn enlists Kent in the search for Laurie. With the murders largely over at thirty minutes in, and the murderer revealed to the audience at fifty minutes (for any halfwits who haven’t yet figured it out), The Toolbox Murders takes a sharp turn into psychodrama as the young men investigate Laurie’s disappearance, and scenes of their search alternate with Laurie’s plight as a captive, leading up to a truly bizarre dénouement.
Banned in the UK as a Video Nasty, The Toolbox Murders is preceded by a reputation for unmitigated sleaze–a reputation that’s not entirely undeserved. But the low budget, competing storylines, and pedestrian direction give it the feel of a made-for-TV movie.
Fisty: Holy shit. TTM exceeded my expectations in so many ways. It’s so very, very sleazy, and so very, very nasty, and so very, very bad. It’s a home run of fucking trashy-ass, exploitative cinema. It’s easy to see how it earned its spot on the Video Nasties list; the first thirty minutes is almost nothing but violent murder and nudity. But then after that bang up start the movie settles into a curious police procedural thriller format that, for all its smuttiness–and yes, it is still very sordid if you’ve got the eyes to see it–it very draggy and uninteresting but for the scenes of Cameron Mitchell’s (Blood and Back Lace) lunacy and Ferdin’s terror. Only in the final fifteen minutes does violence appear once more, and it’s of an entirely different breed. By then, many of even the most dedicated horror fans and gorehounds may have passed out from sheer boredom. It takes a certain amount of patience–and attention span–to appreciate TTM’s tacky charms.
Speaking of tacky charms, I did love the look of the movie. I know it’s ugly in that special 70s Saturday Night Special Movie way, but it had a certain nostalgic charm for me. It looked like shitty movies I grew up watching in school (though I grew up in the 80s, it was in Hawai’i, where the 70s had a long reach–especially in the school system). The California setting was probably a big part of it: so sunny, so squalid, so semi-suburban. There are still tacky apartment open-air buildings like the Camelot and El Patio del Sequoia all over the West, and I’ve lived in a few of them.
Bill: It took me three tries to get through the whole movie. Though, admittedly, I made the first two attempts when it was late and I was tired, so it probably had more to do with my condition than the drag in the middle of the flick. I was even dozing a bit during the first thirty minutes and there is nothing sleep inducing in that bit of film. Boner inducing, sure, but sleep? I think, maybe, I could’ve been lulled further into a restful state by that made-for-TV movie quality it has. Kind of like what happens when I watch Matlock, except Matlock is usually less bewildering. There are whole segments in TTM that make no sense, like the coffee scene. The cop offers Laurie’s brother some coffee, the kid declines, then the cop goes to get some for himself, but the pot is empty, so he puts the glass down and that’s it. What the hell was the purpose of that? Then there’s the odd fruit-throwing bit that I suppose was meant to show the siblings as playfully close, but just seems awkward. And just why do the cops let all the neighbors stand around looking at all the naked corpses?
Other parts are just painfully obvious and unnecessary. Like trying to establish the innocence of Laurie by having her do the exact opposite of gyrating DeeAnn? But I do appreciate the seminude dancing.
Fisty: Yeah, the director, Dennis Donnelly pretty much just did TV; this was his sole feature film–and it shows. Too much exposition, weird experimental editing, problems with pacing …
Bill: Who the fuck was in the car that wrecked?
Fisty: Oh my god, Bill. It was Cathy. Dude’s daughter/other dude’s lover.
Bill: But it seemed like she died way before then. Didn’t it seem like he started killing the women right after the girl in the car died? Like, the same night?
Fisty: How could there be flashback shots from her funeral interposed with shots of him entering the building to START the killing spree if she died that night?
Bill: I know the funeral shots were flashbacks, but there’s no break between driving and killing, it all looks the same. Donnelly could have made that a lot clearer. But my framerate was stuttering a bit at the start, so …
Fisty: And you’re abominably literal sometimes … but I suppose if one were drunk, it could be confusing. The editing is mostly shit.
Bill: Debbie’s shower scene is the most bizarre that I have ever seen. She puts on a shower cap while fully dressed, turns on the water, sees her dress hanging in the shower, steps in still fully dressed, presumably to get her little black dress before it’s soaked, but then doesn’t even touch the dress, steps out and takes her shower cap off! I am fully convinced that this was originally meant to be a normal, typical shower scene, but they rewrote it into absurdity, just for that wet shirt yumminess, after seeing how hott Debbie the braless wonder looked in her sheer white top.
Fisty: That’s one of my favorite parts–teeth-gnashingly aggravating (as I shriek, “Why? Why are you getting in the shower fully dressed? Why aren’t you even bathing and just putting on a succession of shirts and then removing your pants? WHY?!?” at the television screen) and unintentionally hilarious as it is. I also love the way she goes down like a ton of bricks from the most ineffectual right hook I’ve ever seen. Pretty much all the victims except Dee Ann are ineffective wimps.
Purists will declare that TTM isn’t a slasher, and I’m with them on that. Like Don’t Go in the House, it’s a curious blend of genres, teetering as it does on the edge of sleazy 70s psycho-thrillers and gleefully self-aware by-the-numbers 80s slashers, and coming down straight in the exploitation zone. After the gialli-inspired opening and kills that seem to promise an endless parade of titties and blood, TTM downshifts into an amateur detective psychodrama, a confusing change for many viewers. Though one might argue that amateurs investigating crimes in the face of an inept police force is a clear marker of a giallo, it seems just as likely that Joey and Kent’s sleuthing owes as much to Donnelly’s directing credits in TV–including an episode of The Hardy Boys/Nancy Drew Mysteries. (And many episodes of Adam-12, Emergency!, Hart to Hart, Charlie’s Angels, The A-Team, Simon & Simon … is a pattern developing? To be fair, most of those were post-TTM, but I think it shows a decided slant.) Knocking any confusion about the killer’s identity out of the way lets the film settle in on the bewilderment of the bereaved on one side, and the suffering of the victim and the lunatic on the other.
Bill: I think the movie may’ve benefited from being more slasher-like. As much as I’d hate to see a dilution of the concentrated sleaze at the start of the flick, it would’ve been nice to have some tits & murder interludes tossed in somewhere during the Hardy Boys episode in the middle. That really is the weakest part of the movie. I mean, you can only get so much entertainment from watching skeevy cops hit on the mother of a missing girl. He really was kind of sleazy. “Look, your daughter is missing and maybe we’ll find her but, in the meantime, can I give you another?”
Fisty: Damn it, I LOVE that singles bar scene! That fucking cop is a real piece of work. And the way Joanne shuts him down? Masterful!
Speaking of which, Aneta Corsaut (The Blob) is magnificent as Joanne. The rest of the casting is pretty spot-on, too: Ferdin evokes pathos as the victimized Laurie, Mitchell–though no longer the hottie of the How to Marry a Millionaire days–chews up the scenery like it’s Red Man.
Its greatest strength is its greatest weakness: The Toolbox Murders makes for a primo exploitation experience because that’s all it was ever meant to be. Tony DiDio reportedly saw a reissue of The Texas Chainsaw Massacre four years after its initial release and said to himself (and his team), “I want to cash in on that.” (My paraphrase.) Don’t go into it looking for subtext on the alienation of the American family in the juxtaposition of an affectionate but struggling family with a highly dysfunctional yet loving one. Don’t look beneath the sleaze for something less sleazy, because it’s sleaze all the way down.
Bill: I think there is one area where it under-sleazes: The climax of the film. There’s some real frying pan/fire jumping at the end, but, while you know Laurie goes through a wicked nasty ordeal, they don’t show any of it. It’s a big change from the beginning of the movie, where everything was very in-your-face. I guess Donnelly felt he had to be respectful when it comes to letting us know what happened to this sweet, virginal character, but the other victims were just dirty sluts, so their pain doesn’t matter. Damn it, I want to see the nice girl’s pain and degradation, too! Eh, it was a true story, according to the bit of text that flashes on the screen at the end, so maybe he was just trying to protect the real Laurie, in case she ever watched the movie. (My eyes are rolling so hard that I just got dizzy.)
Fisty: Can we recommend The Toolbox Murders? Though it at times reminded me of bad 70s afterschool specials in which someone ruined their life by sniffing goofballs in a ditch, I’m going to go ahead and say yes. Though it doesn’t live up to its reputation of relentless blood n’ smut, it has some solid splatter moments, oodles of titties n’ bush, and pure insanity–and all in the first half hour. (Bill: And you really don’t want to be the only one of your friends to have missed seeing that beginning.) Plus, there are tons of familiar TV faces from shows like Emergency!, Land of the Lost, and The Andy Griffith Show–and fucking FERN from CHARLOTTE’S WEB!!! Even the dreck is worth sitting through for Mitchell’s scenery-gnawing performance and Ferdin’s understated terror, a few genuinely chilling moments, as well as an ending that will not only surprise the hell out of most viewers, but will also have them running for the shower. Just remember to take your clothes off before getting in the tub.
Did anyone else notice that the victims in the trailer in no way match up with those in the movie?
PROTIP: Order a pizza just before pressing play. Your pie will arrive just as the movie slows down, giving you something extra to chew on while you sit through the downtime in the middle of the flick.
The Toolbox Murders is available to Watch Instantly on Netflix!