Like one of the other reviewers (might have been @ Amazon), I was first introduced to Tourist Trap by the beloved, decrepit old WOR-9 in NY, around January 1983. Devil Dog: The Hound of Hell, which I'd been waiting to see since it debuted on Halloween 1978, had just ended, and I thought I'd had my horror fill for the day (quit laughing - that three eyed "Borgost" (sp?) monster Ike Eisenmann draws up in his room is scary).

For as much as I still enjoy Richard Crenna wearing his made-for-TV horror hat, it was the first 10 minutes of Tourist Trap, following Devil Dog that day, that really left a mark - and months later, it ended up being the first movie I ever taped off TV. WOR used to play this fairly frequently, often as the Saturday afternoon Million Dollar Movie, as others have observed. It's one of those offerings that delivers a powerful horror punch up front, a veritable left hook - and then practically starts over with the rest of the cast, dances and jabs, putting the opening scene a larger context along the way, then moves on to the real climax (see Night of the Living Dead, Re Animator).

Two paragraphs and I haven't mentioned a single mannequin. Face it - the damn things are scary enough, without the music and the script. I, too, can remember some scary dress dummies and the like in various relatives' attics and basements, and say what you like about how relatively straightforward Schmoeller and Carroll's approach is - no one, before or since, has played it this well. In real life, a good mannequin will make you do a double take - and here, that's about the last thing you're likely to see, if you happen to be stuck at Slausen's defunct wax museum and roadside stand. Yes, there is a point ("I loved her very much"), where Chuck "Slausen" Connors is trying to pass for Vincent Price. Yes, the plot might have taken up all of a paragraph in the early stages; I can't see the script being all that thick. It doesn't matter. From direction to competent acting (Meryl Streep's emphatically not in attendance, and here, that helps instead of hinders), to another useful and effective Pino Dinaggio score (see Carrie and various other de Palma movies), to various lighting, film stock, use of varying sound levels ... I could go on - every element of this low budget production comes together and you get a work very much greater than the sum of its parts.

Did I mention it's scary as Hell? Stephen King talked this movie up in Danse Macabre a year or so after its release, and with good reason. Like much of his work, it may not be great art, but it sure does tell a scary story, and does it well. The rest of the cast may be relatively unknown (wasn't Jocelyn Jones in that Texas car chase movie as well?), but Chuck Connors and Tanya Roberts were and are, just familiar enough to audiences, to make you think - Stephen King style - that this could happen to you, or people you know.

Comparisons to Psycho (plot) and The Texas Chainsaw Massacre (overall look and feel), even if they aren't the first associations in my mind, are valid. I only wish I could comment on the DVD, which I look forward to buying, as Tourist Trap has become notoriously hard to find on video since the near-complete extinction of independent video rental outlets, where it had a home aside from WOR and cable in the 1980s (though TMC/Showtime appear to have picked it up and play it regularly now). No, no spoilers here, I'm afraid, no plot breakdown - go see it yourself (all right, there may be a tiny little one below, so scroll away if you like - better safe than sorry). The mannequins are damn scary and I'd rather show than tell ... :)

For the record, Tourist Trap is also chock full of great lines, from "we are going to have a party! How do I look, huh, how do I look?!", to "you're so pretty", "you can't hurt me", "I shouldn't have to hide it - it feels good!" (listen for that Vincent Price inflection again there), the inevitable "you're crazy!" (delivered at the right moment, and in the right tone) ... and try - just try - to keep the hair on your arms down when you hear the mannequin's head screaming "Molly!" - especially once you realize whose head it used to be ... :)

P S ... Charles Band was the producer on this, I believe, and likely owned the rights to Dinaggio's music. Band, from what I understand, was the brains behind Full Moon Entertainment, which might explain both the music's subsequent use in Puppet Master, and, well, the 40 commercial approach has characterized Full Moon throughout, from the enjoyable Puppet Master and Subspecies franchises, to, uhhh ... Trancers and Bad Channels (sorry, BOC).

Sentiment: positive