A young man returns to his home city of Pittsburgh and moves in with an older woman whom he begins to rely on for emotional and financial support.
Following the international success of George Romero's "Night of the Living Dead", it was only a matter of time before Romero and his production company (Latent Image) made a follow-up. Though, as Romero would later concede, "Vanilla" is the worst film of his career and not surprisingly was never released on VHS and thus rarely seen before the DVD era.
Latent Image, which involved most of the people from "night", was largely doing commercial work, as well as some segments of "Mister Rogers' Neighborhood". The profits from "Night" should have made Romero and friends millionaires and kicked off huge Hollywood careers, but as we know today, the distributor botched the copyright and the millions in profits never mad it back to the filmmakers. Thus, Latent Image continued on as a low-budget production company rather than the sought-after company it should have been.
"Vanilla" was a miserable experience for all involved. Rudy Ricci never finished the script by the time shooting began, dragging what should have been four weeks to over a year of filming. Ultimately, the "finished" product did not even amount to feature-length and the Ray Laine monologues had to be tagged on after the fact. (Ricci played an important role in "Night"; he was college roommates with Romero in 1957 and introduced Romero to Russo, thus uniting the two primary figures behind "Night".) Although Romero more or less disowned this film, he is largely responsible for it. Not only the director, he worked as his own cinematographer and editor. Writing came from Rudy Ricci (as mentioned) expanding on a short film he penned, with production officially handled by "Night" veterans John Russo and Russ Streiner. Tackling the score was Steve Gorn.
Bill Hinzman, George Kosana and Judith Ridley (wife of Russ Streiner) are in the cast, as they had been in "Night". Hinzman would handle much work for Romero both behind and in front of the camera as the years went on. Others, such as assistant cameraman Paul McCollough went with Russo following the Romero-Russo split. McCollough would be editor and composer for much of Russo's work between 1976 and 1996.
Originally distributed (poorly) by Cambist Films, it was later picked up by Anchor Bay on DVD, tacked on as a bonus feature to "Season the Witch". In 2017, we finally get a proper Blu-ray release through Arrow Video. A cleaner picture obviously does not magically turn a bad film into a good one, but thanks to the audio commentary and special features (including a 30-minute making-of with Russo and Streiner), we get an in-depth look at the world of Romero and Latent Image. Like it or not, this film is the bridge between "Night of the Living Dead" and Romero's later work, thus making it a crucial watch for any student of his films.
Following the international success of George Romero's "Night of the Living Dead", it was only a matter of time before Romero and his production company (Latent Image) made a follow-up. Though, as Romero would later concede, "Vanilla" is the worst film of his career and not surprisingly was never released on VHS and thus rarely seen before the DVD era.
Latent Image, which involved most of the people from "night", was largely doing commercial work, as well as some segments of "Mister Rogers' Neighborhood". The profits from "Night" should have made Romero and friends millionaires and kicked off huge Hollywood careers, but as we know today, the distributor botched the copyright and the millions in profits never mad it back to the filmmakers. Thus, Latent Image continued on as a low-budget production company rather than the sought-after company it should have been.
"Vanilla" was a miserable experience for all involved. Rudy Ricci never finished the script by the time shooting began, dragging what should have been four weeks to over a year of filming. Ultimately, the "finished" product did not even amount to feature-length and the Ray Laine monologues had to be tagged on after the fact. (Ricci played an important role in "Night"; he was college roommates with Romero in 1957 and introduced Romero to Russo, thus uniting the two primary figures behind "Night".) Although Romero more or less disowned this film, he is largely responsible for it. Not only the director, he worked as his own cinematographer and editor. Writing came from Rudy Ricci (as mentioned) expanding on a short film he penned, with production officially handled by "Night" veterans John Russo and Russ Streiner. Tackling the score was Steve Gorn.
Bill Hinzman, George Kosana and Judith Ridley (wife of Russ Streiner) are in the cast, as they had been in "Night". Hinzman would handle much work for Romero both behind and in front of the camera as the years went on. Others, such as assistant cameraman Paul McCollough went with Russo following the Romero-Russo split. McCollough would be editor and composer for much of Russo's work between 1976 and 1996.
Originally distributed (poorly) by Cambist Films, it was later picked up by Anchor Bay on DVD, tacked on as a bonus feature to "Season the Witch". In 2017, we finally get a proper Blu-ray release through Arrow Video. A cleaner picture obviously does not magically turn a bad film into a good one, but thanks to the audio commentary and special features (including a 30-minute making-of with Russo and Streiner), we get an in-depth look at the world of Romero and Latent Image. Like it or not, this film is the bridge between "Night of the Living Dead" and Romero's later work, thus making it a crucial watch for any student of his films.