NIGHTMARE
Directed by Romano Scavolini
Code Red DVD
98 Minutes. Color.

Controversy creates interest. There are few movies that have more controversy attached to them as Romano Scavolini's Nightmare. Straight out of the early 80s splatter movie surge, Nightmare has suffered (or enjoyed, depending on the point of view) infamy for being a look into the depraved world of a confused and unhappy serial killer. It was one of the original "Video Nasties" in the UK, and has even been the subject of an ongoing heated debate as to who was truly responsible for the special effects work. Most recently, Nightmare has found itself at the center of a critical discussions among fans who have wanted it released on DVD.

Originally set to be released nearly ten years ago by a label named Program Power, Nightmare (along with The Redeemer: Son of Satan - also recently released by Code Red) fell into limbo when the studio ceased operating. It was announced by Code Red a number of years ago, and this time, was held up for different reasons (again, like the Redeemer). Suitable film elements were difficult to find, as it was revealed that the negative was unusable. Arguments and criticism among the Internet fanbase ensued; some criticized Code Red for delaying the release, others defended Code Red, applauding their efforts to hold out for the best possible a/v source and quality extras. Through all of the legendary ongoing controversy and a wave of cut releases and bootlegs, Nightmare has finally been released by Code Red in what will hopefully (but highly unlikely) be the last word on this attention-grabbing title.

George Tatum, an introverted psychotic killer who suffers recurring nightmares and is part of an experimental reformation therapy program, has been accidentally released from the hospital back into society. One trip past 42nd street and all of its adult entertainment arcades causes him to slip back into his compulsive, delusional and dangerous state. After a major seizure caused by what he witnesses inside an adult emporium, George heads south towards Florida, murdering hapless victims along the way.

At the same time, a dysfunctional family in Daytona Beach is struggling with daily life and putting up with cruel pranks at the hands of CJ, the most attention-seeking sibling. The babysitter, sick of being terrified by CJ's pranks to the point of dialing the police, refuses to watch CJ and his sisters any longer. CJ's mother needs to attend a cocktail function with her boyfriend and convinces the babysitter to watch CJ one more time. However, this is the night that George arrives, and the nightmare is "stronger than the pills....."

Romano Scavolini's Nightmare became notorious for its dark themes and unrelenting gore. More notorious (and perhaps drawing even more attention to this title) was the debate over who actually executed the special effects in this film. From the beginning, Nightmare was promoted as the next big slasher film to feature the effects of Tom Savini. Savini, who was at his busiest doing special makeup effects for films such as Maniac, The Burning and Creepshow, demanded that his name be taken off of the credits. Some prints were edited to remove Savini's name and many of the posters for Nightmare were covered with tape in order to hide his effects credit. Separate interviews held with Savini and director Scavolini contradicted each other, as Savini strongly denied ever working on the film. His credibility was in question with many fans as a picture of Savini on the set of Nightmare surfaced (most prominently in the book Spaghetti Nightmares, 1996, Fantasma Books). However, that controversy may very well have come to an end with the arrival of Code Red's DVD.

Nightmare has been released by Code Red in a two-disc set. In keeping with the controversial nature of this title, copies were accidentally shipped out four weeks prior to its street date. This caused a great deal of confusion and anger amongst fans who pre-ordered Nightmare from online retailers that shipped the set on time.

There are three transfers of Nightmare included in this two-disc set. Each of them vary in a/v quality and differ minimally in content.

The first transfer, is a composite print with an aspect ratio of 1.33:1. It has been color-corrected and approved by director Romano Scavolini. However, the colors appear washed out during the opening credit sequence. As expected of source material that is 30 years old and has seen repeated projection, scratches, speckles and other visible damage to the image are present, with the opening scene bearing the most damage. Even a still frame is used to cover the damage of one of the shots. Digital "ghosting" plagues the presentation early on in the film, as well as the appearance of being artificially slowed down, giving it a slightly distracting resonance; this improves as the movie progresses. Quick action shots occasionally bear digital "holes" in the image. There is more information at the top of the image composition than the other transfers for this release, most easily noticed during the main character's stroll down 42nd Street (the theater marquees are much more visible). The mono sound is perfectly audible and basically sounds as good as the film sources that it came from. If released in 2006, Nightmare would have continued to be a source of debate amongst fans, especially many who demand a near-perfect DVD release in the digitally re-mastered, high definition age.

However, Code Red persisted. The second transfer, a high-definition 16x9 composite of two of the best prints in Code Red's possession as of 2008, is much easier on the eyes with brighter and richer colors (especially the red text during the opening credits). The print damage is present, but most concentrated at the reel changes (and more noticeable at the beginning and end of the film); the final seconds of the end credits seem to come slightly off track. The overall image is much more balanced than the 4x3 version, without the harsh contrast and a lot more revealed in the mid-tones. The overall image is framed much further to the left than the 4x3 version and sports cooler colors (and at times, making the blood seem magenta in comparison with the other transfers). It has been flagged for progressive scan (also unlike the 4x3 presentation). The mono audio mix is much softer than that of the 4x3 transfer, prompting volume adjustments during certain parts of the film.

A major complication with one of the extras held up the release of Nightmare for quite a while. But in the meantime, another print had been discovered that is either in comparable or in better shape than the 2008 transfer on disc one. This one was transferred in 2011 and given 16x9 presentation on disc two. Although a circulated print and not without damage, this is possibly the best Nightmare may ever look on home video. There is a light amber cast over the image and the some of the blacks appear to come across as dark green. Scratches and fingerprint smudges can be seen towards the beginning of the film. But overall, the film appears to be the brightest and most colorful version out of all three options. This transfer appears to be framed to reveal even more of the original image. The mono sound is nicely equalized, much better than the 2008 transfer.

Each of the transfers differ slightly in running time. Missing from the 4x3 version is the 21st Century Distribution Corp. logo screen. When logo screens for Films Around the World and Code Red are taken out of consideration, the final running time is 1:37:59. The 2008 version, with the 21st Century logo screen intact, runs 1:38:14. The 2011 transfer, has the 21st Century logo screen but is missing Tom Savini's screen credit. This version has a running time of 1:38:08. All of these versions, content-wise, are the same (save for the still frame to cover print damage on the 4x3 transfer). They contain all of the expositional footage missing from the Continental videotape release in 1985.

Extras accompanying the film on disc one include a running audio commentary and interviews. The audio commentary, featuring lead actor Baird Stafford and special effects artist Cleve Hall, offers a wealth of information about the making of Nightmare, behind the scenes anecdotes and scene-specific perspectives. The viewer would be convinced that actor Stafford worked extensively on the production of Nightmare because he recalls exact names of crew members and is highly detailed in his descriptions of the action behind the scenes. The commentary sounds as if it was recorded for the 4x3 version, but is presented with the 2008 16x9 version (it even calls attention to the still frame used in the 4x3 transfer). In addition, it seems several seconds ahead of the action; there are many instances where comments are being made about the opening shot of a scene following the one wrapping up on screen. In its entirety, it is a very informative track with the bare minimum of dead air.

The Making of Nightmare, a featurette including interviews with Cleve Hall and Baird Stafford and clips from the film, reveals more anecdotal information, facts about the distribution and more information about the extent of Savini's involvement on the film. A brief interview with effects artist Ed French is included which also touches upon Savini's involvement and French's career as a whole.

As if the film and its long-awaited DVD release needed more controversy, a 95 minute interview with director Romano Scavolini is included on disc two; it was conducted in Italian and features no English subtitles. Many factors have affected this outcome, as well as the DVDs delayed release.

The remainder of the extras consist of the US theatrical trailer for Nightmare, two television spots and a group of Code Red Trailers.

Thirty years after the controversy began and nearly ten years after it was announced to be released on DVD (the Program Power version), Nightmare has arrived to please horror fans - at least those who can be pleased in this instance. With supplemental material and interviews that address not only the controversy that seems to have latched itself onto this film but also stories surrounding the people involved with the production, only one question remains.....

"Would anyone like to comment?"