RIP Christopher Lewis: The Unsung Hero of Shot-on-Video Horror – Film Threat

On January 28, 2021, we lost a filmmaker whose work inspired an entire subgenre of horror. Christopher Lewis may not be a household name by any stretch of the imagination, but his contribution to independent cinema cannot be ignored. Without him, we may have never seen the wave of shot-on-video horror that dominated local video stores in the late 80s and early 90s. His passing signals a true end to an era that, like it or not, remains ingrained in horrors history.

Christopher Lewis was born August 1, 1944, to producer Tom Lewis and classic Hollywood starlet Loretta Young. His younger brother Peter rose to prominence in the late 60s as a founding member of San Francisco psychedelic rock band Moby Grape. At the same time, his half-sister Judy pursued acting before becoming a writer and professional child counselor. His lineage also included actors Ricardo Montalbn, Sally Blane and Polly Ann Young, guitarist David Lindley, horror host Robert Foster (aka Grimsley), and actor/director Norman Foster. He was also my cousin.

In the mid-80s, Christopher and his wife/business partner Linda saw the potential for an untapped market in extremely low-budget independent horror movies. By using video rather than film, the cost could be drastically reduced, provided the video stores were willing to carry such products. Blood Cult (1985) was not the first shot-on-video horror movie, but it made an impact and has since risen to prominence among fans of low-budget horror. Female college students on a Midwestern college campus are being murdered, and the police detective investigating the crimes finds himself deeper into the mystery than he expected. Structurally, the film blends classic slasher elements of both Herschell Gordon Lewis and Sean Cunningham with the mystery of Alfred Hitchcock and Dario Argento. Keep in mind, this was shot on video in Oklahoma, and some of the performances and dialog are rough, to say the least, but what truly stands out is Lewis direction. The opening sequence alone reveals a firm knowledge of camerawork and editing, a trait that follows throughout the directors career.

Lewis quickly upped the ante withThe Ripper (1985), another tale of murdered college students, ancient artifacts, and Giallo antiheroes. However, this time, he reached out to special effects legend Tom Savini to play the starring role. The resulting film smooths out the edges of its predecessor and further cement Lewis eye for the camera while openly referencing the 1960s exploitation films of Vincent Price. Savini has famously apologized for having participated in it at all, despite its reverence among indie horror aficionados.

his contribution to independent cinema cannot be ignored.

Revenge, a loose sequel to Blood Cult, closed the horror trilogy the following year. This time, Lewis firmly grasped the reigns of the production and wrote the screenplay himself. Impressively, this proved to be a vast improvement in his style. While Revenge firmly treads in the same slasher territory of its predecessors, it probably best represents Christophers vision in these films. The story follows the familiar slasher pattern of murder, mystery, and artifacts. Still, his true talent shows through here best with surprisingly stunning camerawork and decent dialog for a shot-on-video film, as well as a memorable performance from John Carradine. Sadly, this one seems to be the least revered, as its much easier to find bootlegs of the first two on the horror convention circuit.

Mystery always remained an integral part of his horror movies, so Lewis made it the centerpiece for his fourth film. 1990s Dan Turner, Hollywood DetectiveakaThe Raven Red Kiss-Off, nods to the noir that so clearly defined his family. Perhaps his most lavish production is that rare shot-on-video period piece that strives for accuracy by retaining the central elements of intrigue, Dutch angles, and femme fatales. Its also his most impressive cast, featuring Marc Singer from Beastmaster and V, Paul Bartel ofEating Raoul andDeath Race 2000 fame, and Clu Gulager, whos best remembered for his roles in Return of the Living Dead and A Nightmare on Elm Street 2: Freddys Revenge. Hopefully, someone will release a box set of these four films and cement Lewis role in the annals of shot-on-video moviemaking.

Through the remainder of the 90s, Christopher Lewis turned his talents toward documentary filmmaking to talk about subjects that interested him, such as Western swing music and paranormal activity. Two of these entries, 1994s Still Swingin and 1996sHauntings Across America (hosted by Michael Dorn fromStar Trek: The Next Generation), are available for streaming and showcase the inquisitive, intellectual side of the auteurs filmmaking.

Christopher is survived by his wife Linda, who actively participated as producer in all his projects.

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RIP Christopher Lewis: The Unsung Hero of Shot-on-Video Horror - Film Threat