THE EVICTORS 1979
SPOILER ALERT!
Charles B. Pierce’s The Evictors (1979) is a Southern Gothic chiller that quietly burrows under your skin, trading in the same rural unease and period authenticity that defined his earlier cult favorites like Pierce’s The Town That Dreaded Sundown. Set in 1942 Louisiana, the film follows Ben and Ruth Watkins, played by Michael Parks and Jessica Harper, as they settle into a seemingly idyllic farmhouse, only to find themselves ensnared in a decades-old cycle of vendetta and violence. The house, sold to them by the affable but evasive realtor Jake Rudd (Vic Morrow), comes with more than its share of baggage—namely, a string of unsolved murders stretching back to the late 1920s, when the Monroe family was gunned down during a brutal foreclosure standoff.
Pierce, who also handled cinematography, leans into a moody, sepia-tinged palette for the film’s numerous flashbacks, evoking the passage of time and the weight of local legend. These flashbacks, set in 1928, 1934, and 1939, are shot with a chilling, almost photographic stillness, each one peeling back another layer of the house’s bloody history. The present-day scenes are shot with a gritty, naturalistic style that grounds the film in its rural setting—Pierce’s camera lingers on the overgrown fields, creaking porches, and shadowy interiors, creating a sense of claustrophobia and isolation that only tightens as the danger draws closer.
The score by Jaime Mendoza-Nava adds a brooding, sinister undercurrent, amplifying the film’s slow-burn tension. Mendoza-Nava was a prolific Bolivian-American composer and conductor whose career spanned classical music, television, and a wide range of film genres. Trained at prestigious institutions like Juilliard, the Madrid Royal Conservatory, and the Sorbonne, Mendoza-Nava brought a sophisticated musical approach to everything he touched, often weaving in the pentatonic rhythms of his Andean heritage.
In Hollywood, he worked for Walt Disney Studios, composing for classic TV shows such as The Mickey Mouse Club and Zorro, and contributed to the Mr. Magoo cartoon series. He later became a sought-after composer for independent and B-movies, especially in the horror, sci-fi, and exploitation genres, with credits for more than 200 films. Some notable titles include: Five Minutes to Love (1963), Orgy of the Dead (1965), The Black Klansman (1966), The Legend of Boggy Creek (1972), The Brotherhood of Satan (1971), Grave of the Vampire (1972), The Town That Dreaded Sundown (1976), Mausoleum (1983), Vampire Hookers (1978) and The Boys in Company C (1978).
Jessica Harper, best known for her iconic roles in Suspiria 1977 and Phantom of the Paradise 1974, brings a quiet vulnerability to Ruth, who finds herself increasingly isolated as her husband is often away for work. Harper’s performance is understated but powerful; she’s the emotional anchor of the film, and her growing paranoia and dread are evident.
Harper’s acting style is often described as naturalistic and quietly magnetic, a quality that has made her a cult favorite and a memorable presence in some of the most visually arresting films of the 1970s and ’80s. Critics and fans alike have noted her “regular-girl charm” and “wide-eyed girl-next-door appearance,” which lend her a relatable vulnerability, but beneath that surface lies a subtle strength and intelligence that grounds even the most surreal or heightened stories.
A gentle, almost minimalist approach marks Harper’s performances—she conveys emotion through nuanced facial expressions and body language rather than melodrama, making her reactions feel authentic even in the most bizarre circumstances. This quality is especially evident in her horror roles, where she often serves as the audience’s surrogate, guiding viewers through grotesque or nightmarish worlds with a sense of skepticism, resolve, and quiet courage. Her looks have frequently been described as striking yet approachable: large, expressive eyes, delicate features, and a softness that evokes both innocence and a kind of classic, fairy-tale beauty. She’s been called a “pinup for cult film fanatics,” and her “deer in the headlights” quality—often compared to Snow White—has been noted by both critics and Harper herself. Yet, as Harper has pointed out, there’s a “serious strength” and “power” beneath that vulnerable exterior, a duality that makes her such a compelling screen presence.
In Dario Argento’s Suspiria (1977), Harper plays Suzy Bannion, an American ballet student who arrives at a prestigious German dance academy only to discover it’s a front for a coven of witches. The film is renowned for its operatic, nightmarish style—brilliant splashes of primary color, expressionistic production design, and a thunderous prog-rock score by the evocative group Goblin.
In Phantom of the Paradise (1974), directed by Brian De Palma, Harper made her film debut as Phoenix, an aspiring singer caught in a Faustian struggle between a disfigured composer (William Finley) and a manipulative music producer (iconic songwriter Paul Williams). The film is a wild, satirical rock opera, blending horror, comedy, and musical spectacle with De Palma’s trademark visual flair—split screens, bold lighting, and kinetic camera work. As Phoenix, Harper stands out for her unaffected, sincere performance; she plays the only truly likable character in a world of grotesques and egomaniacs. Her singing voice and subtle acting bring warmth and humanity to the film, and her cautious optimism and wariness make her a believable object of obsession for both Finley’s and Williams’s characters.
In The Evictors, Michael Parks, as Ben, is solid and likable. Parks was a remarkably versatile and intense actor whose career spanned over five decades and more than 100 film and television roles. He first gained widespread attention as the soulful drifter Jim Bronson in the late 1960s TV series Then Came Bronson, a role that showcased both his acting and musical talents— the enigmatic French-Canadian gangster Jean Renault in Twin Peaks, and Texas Ranger Earl McGraw in Quentin Tarantino’s Kill Bill films and Robert Rodriguez’s From Dusk Till Dawn series. Directors like Tarantino wrote roles specifically for him, with director Kevin Smith calling Parks so compelling that all you had to do was “turn on the camera” to get a masterful performance.
Vic Morrow was cast as Jake—the real estate agent with secrets to spare—that gives the film its sly, menacing edge. Sue Anne Langdon also stands out as the seemingly friendly neighbor Olie Gibson, whose wheelchair-bound warmth masks deeper layers of involvement in the house’s dark legacy.
The film’s plot unfolds with a deliberate pace, building tension through suggestion and atmosphere rather than outright violence. Ruth is terrorized by a mysterious, slow-moving figure—often glimpsed lurking in the shadows, overalls and knife in hand—while Ben remains skeptical, leaving Ruth to fend for herself as the sense of threat escalates.
The narrative cleverly weaves in the house’s past through flashbacks, each one revealing another grisly fate met by previous tenants. As the truth unravels, it’s revealed that the Monroe family, thought to have been wiped out in the original shootout, has been orchestrating a real estate scam for years: Jake (actually Todd Monroe), his sister-in-law Olie (Anna/Olie Monroe), and their brother Dwayne (the lurking killer) repeatedly sell the house to unsuspecting couples, then terrorize and murder them, reclaiming the property to sell again.
The climax is a bleak, nihilistic twist—after a final confrontation that leaves Ben dead and Dwayne killed by Jake, Ruth, now unhinged, marries Jake and willingly joins the murderous scheme, perpetuating the cycle for the next wave of victims. It’s a dark, circular ending that lingers, refusing to give us any sense of closure or justice.
While The Evictors is “supposedly based on true events,” as some sources note, the film takes considerable liberties, blending local legend and period detail into a fictional narrative that feels rooted in the anxieties of rural America. Pierce’s knack for evoking a raw, lived-in atmosphere—helped by his own cinematography and a cast of strong character actors—makes the film more than just a haunted house story. It’s a meditation on isolation, paranoia, and the way violence can echo through generations, all wrapped in a deliberately paced, old-fashioned package. Though overshadowed by Pierce’s more famous works, The Evictors stands as an overlooked gem—one that trades jump scares for slow-creeping dread. Once again, this film from Pierce’s imagination has stuck with me all these years.
THE TOWN THAT DREADED SUNDOWN 1976
A Trailer a Day Keeps the Boogeyman Away! Boggy Creeks, Dreaded Sundowns and Mysterious Evictors!
The Town That Dreaded Sundown is a film that lingers in the mind like a half-remembered lucid nightmare, its unsettling grip rooted not just in the brutality of its story, but in the way Charles B. Pierce tells all his stories—with a style that blurs the line between cinéma vérité, true crime drama, police procedural and all with a regional authenticity that seeps into every frame.
I find myself strangely and endlessly captivated by The Town That Dreaded Sundown and the real-life events that inspired it. There’s something about the eerie blend of history and legend, the unsettling atmosphere of Texarkana, and the film’s docu-style storytelling that keeps pulling me back in. No matter how many times I revisit the story, I’m fascinated by the way the mystery and the film give me the willies—and how the line between fact and folklore blurs. I can’t quite explain it, but the effect never seems to fade. The film dramatizes the brutal attacks with a stark intensity that makes the violence feel both on the spot and deeply unsettling.
Pierce, who grew up in the very area haunted by the Texarkana Moonlight Murders, channels his personal memory and local knowledge into a film that feels as much like a piece of oral history as a horror movie. The result is a movie that’s both unnerving and immediate, and oddly intimate. It’s definitely work that stands out in the landscape of 1970s American horror for its rawness and its refusal to sensationalize, well, mostly, yet it does amplify the chilling story.
The film’s style is as noteworthy as its story. Pierce’s The Town That Dreaded Sundown is visually defined by its distinctive, almost documentary-like cinematography. The grit and dramatic tension contribute powerfully to the film’s unsettling atmosphere. The lighting throughout the film is often stark and utilitarian, favoring naturalistic sources rather than decorative aesthetics, enhancing the sense of realism and immediacy. Night scenes are bathed in a harsh, sometimes unforgiving light that casts deep, ominous shadows, while daylight exteriors capture the washed-out, sun-bleached look of the lush rural Arkansas countryside. Shot with a documentarian’s eye—Pierce’s camera lingers on the lonely fields, sunlit days filled with small-town quaintness and the innocence of children playing, contrasted with rain-soaked streets and nights and the sinister, shadowy, quiet, now dangerous woods of Texarkana, using the natural landscape to evoke both nostalgia and dread. The attacks themselves are shot with a jarring, almost clinical detachment. This approach gives the film an authenticity that feels as if you’re watching a piece of true crime reportage rather than a stylized horror movie.
Scenes are shot with a such a matter-of-fact realism that amplifies their horror, making The Town That Dreaded Sundown a film that doesn’t just recount violence, but forces viewers to feel its shock and brutality.
The low-budget 16mm film stock used by Pierce conveys a rough, gritty quality to the images, which not only grounds the story in a specific time and place but also blows up the sense of unease. A key element of the film’s visual identity is its grainy texture. The graininess makes the violence and suspense feel like one of those memories that hits you in … like a memory that flickers in and out, rough around the edges, you almost feel it under your skin, as if the camera is a silent witness to real events rather than an outsider to what is happening. We are literally watching the murders as they happen. This “grimy little flash” of the original film, as later critics have called it, is part of what gives The Town That Dreaded Sundown its lasting power—it feels unvarnished and lived-in, never slick or showy. Pierce’s work never feels overproduced or overanalyzed.
The film’s most notorious scenes—like the horrific trombone murder scene—are shot with a kind of raw intensity, the lighting and beauty of imperfection combining to make the horror feel both surreal and disturbingly plausible.
The film is infamous for its depiction of several gruesome murders, each echoing the real-life terror of the Texarkana Moonlight Murders.
Key moments in the film stick with you: the first attack at Lover’s Lane, where the Phantom’s hooded figure emerges from the darkness; the tense chase through the woods as Peggy Loomis is stalked and murdered with a trombone; the final home invasion, shot with striking point-of-view angles that anticipate the style of later horror classics. The killer’s anonymity and the film’s refusal to offer closure only heighten the sense of unease. The story ends as it began, with the Phantom still at large, his footsteps echoing in the collective memory of Texarkana as the police chase him through the railroad yard over the tracks only to disappear into oblivion.
One of the most notorious murders portrayed is the infamous “trombone killing.” The murder is staged with minimal music, relying instead on the killer’s heavy breathing and the victim’s anguished cries to create a sense of horror that’s more psychological than graphic, which does more to heighten the terror than diminish or obscure it.
The editing is quick, the camerawork unfussy, and the violence, though not especially bloody, feels brutally real—so much so that Pierce was criticized for its intensity, particularly since his then-wife played the victim in the trombone scene.
In this scene, the Phantom attacks a young couple parked on a lovers’ lane. After subduing the male victim, he chases down the girl, Peggy Loomis ties her to a tree, and then attaches a knife to the end of her trombone. In a chilling display, he repeatedly plays the instrument, each movement driving the blade into her back, creating a moment that is both bizarre and horrifying in its cruelty. That segment of the film still leaves me shaken to my core. As a musician, it would be the equivalent of someone bashing my head to a bloody pulp with the lid of a grand piano.
—The scene is brutal, jarring, and impossible to shake.
Another harrowing sequence is based on the real attack of Paul Martin and Betty Jo Booker. Martin is found shot four times—once in the back of the neck, the shoulder, the right hand, and finally in the face. Trails of blood show that after being shot, he crawled across the road before succumbing to his injuries. Booker’s body is discovered miles away, shot twice and left behind a tree, her body posed in a haunting tableau.
The film also recreates the home invasion of Virgil and Katie Starks. Virgil is shot twice in the back of the head while reading in his armchair, blood seeping down his neck. Katie, upon discovering her husband’s body, is shot in the face through the window as she attempts to call for help. Despite being gravely wounded, she manages to escape the house as the Phantom tries to break in, leaving behind bloody handprints throughout the home—a scene that lingers for its sheer savagery and the desperate, chaotic flight for survival.
The first attack depicted in the film is equally disturbing. The Phantom confronts a couple parked in their car, ordering the man to remove his pants before pistol-whipping him so violently that his skull is fractured. The woman is then struck and ordered to run, only to be chased down and assaulted, a moment that underscores the killer’s sadism and the raw vulnerability of his victims.
The story behind The Town That Dreaded Sundown is itself the stuff of American folklore. In the spring of 1946, just as postwar optimism was blooming, a masked killer known as the Phantom began stalking the lovers’ lanes and quiet homes of Texarkana, attacking eight people and killing five. The real-life “Texarkana Moonlight Murders” cast a pall over the town, and the killer was never caught—a fact that lends the film its persistent sense of nihilism and unresolved fear. Pierce’s film, released in 1976, dramatizes these events with a blunt sensibility, an almost procedural tone, narrated by Vern Stierman in the style of a true-crime TV special. This omniscient narration, paired with Pierce’s lo-fi visuals and location shooting, gives the movie an authenticity that is rattling, as if you’re watching the nightmare unfold in your own backyard.
Pierce’s legacy as a filmmaker is tied to this distinctive approach. Before Sundown, he made his mark with The Legend of Boggy Creek 1972, a faux-documentary about a sasquatch-like creature in Arkansas, which became a surprise box office cult hit.
Both films share a fascination with local legend and collective memory, and both use nonprofessional actors and real locations to ground their stories in a sense of place. In Sundown, aside from a handful of familiar faces like Ben Johnson (as the determined Texas Ranger Morales) and Andrew Prine, who plays Deputy Ramsey, who is earnest and dogged in hunting down the hooded boogeyman.
A Trailer a Day Keeps the Boogeyman Away : Goodbye Andrew Prine Oct 31, 2022
Andrew Prine is one of those versatile American actors who is the opposite of the everyman. I’ve always been drawn to his unique, elegantly languid, unhurried, urbane tone and his lanky and high-cheekboned, tousled hair good looks. His career spanned stage, film, and television, with a particular knack for memorable roles in horror and cult cinema. For instance, in the 1971 psychedelic horror film Simon, King of the Witches 1971, Prine starred as Simon Sinestrari, a cynical and charismatic ceremonial magician living on society’s fringes, dabbling in occult rituals and seeking godhood through magic—a performance praised for its offbeat charm and countercultural energy.
Andrew Prine had been married to his co-star Brenda Scott, who played his love interest Linda in Simon, King of the Witches (1971). In fact, Prine and Scott were already married at the time of filming, and their real-life relationship added an extra layer of chemistry to their on-screen pairing. Their marriage was notable for its on-again, off-again nature; they married and divorced multiple times, ultimately being married during the period when Simon, King of the Witches, was made and released.
Prine also made a notable appearance in the horror TV landscape with the cult series Kolchak: The Night Stalker, playing the snobbish intellectual Professor Evan Spate in the episode “Demon in Lace,” where his skeptical academic character becomes entangled in a supernatural murder mystery involving an ancient Mesopotamian curse and a shapeshifting succubus. Throughout his career, Prine brought depth and presence to a wide range of genre roles, including appearances in The Evil (1978), Amityville II: The Possession (1982), and other horror favorites, making him a familiar and welcome face for fans of the macabre.
The film also features Dawn Wells (as a victim), forever remembered as Mary Ann from Gilligan’s Island, delivers a performance of genuine terror and vulnerability as she flees into the night after being attacked by The Phantom. Ben Johnson brings a stoic presence, while And the rest of the cast is filled out by locals and unknowns, lending the film a rough-edged realism. Pierce even inserts himself into the film as a bumbling comic relief character, a tonal misstep for some, but one that underscores the film’s oddball regional charm.
The Phantom killer’s trademark mask in The Town That Dreaded Sundown is a simple yet haunting creation: a rough burlap sack pulled over his head, its coarse weave obscuring all facial features except for two crude, diamond-shaped eyeholes. These slits are just wide enough to reveal unsettling glimpses of his eyes, adding a chilling, inhuman quality to his presence. The mask’s handmade, plain, homemade look—lumpy, ill-fitting, and devoid of any decoration—makes it all the more unnerving, as if the killer could be anyone, hiding in plain sight. The stark anonymity of the burlap mask transforms the Phantom into a faceless embodiment of fear, his gaze peering out from the darkness with a cold, menacing resolve that lingers long after he disappears into the night.
What sets The Town That Dreaded Sundown apart from the slasher films it prefigured—John Carpenter’s Halloween was still two years away—is its docu-drama structure. The film shifts from scenes of terror to procedural investigation, as Morales and Ramsey canvas the town, interview witnesses, and follow leads. This police procedural element, combined with the omnipresent narration, makes the horror feel inescapable and communal, as if the whole town is holding its breath, waiting for the next attack.
Pierce’s work, sometimes dismissed in his own time as regional schlock, has grown in stature with each passing year. His films are now recognized for their understated visual sophistication, their reverence for American myth, and their innovative blending of documentary and fiction. The Town That Dreaded Sundown stands as a testament to his singular vision—a film that doesn’t just recount a legend, but immerses you in the fear, uncertainty, and strange fascination that legends are made of. It’s a haunting reminder that sometimes the scariest stories are the ones that just happen to be true.
As for the real-life case that inspired The Town That Dreaded Sundown —the Texarkana Moonlight Murders—the Phantom Killer was never officially caught. The attacks occurred in 1946 and resulted in five deaths and three injuries, causing widespread panic in Texarkana. Law enforcement pursued numerous leads and had several suspects, the most prominent being Youell Swinney, a career criminal. Although some investigators believed Swinney was responsible, there was never enough evidence to charge him with the murders, and he was only convicted of unrelated crimes. The case remains unsolved to this day, and the Phantom Killer’s identity is still a mystery.
