"Don’t turn around oh oh oh…the Ripper is out and about oh oh oh…and when he looks at you and you know why…the power drill will kill you."
FRIDAY 13th has been coming into age for a while when the two college buds Stephen Carpenter and Jeff Obrow got the idea to make their debut (Directing, Screenplay, Camera and Producer) on the beaten tracks of a Slasher. The ingredients of the homemaker’s kitchen (sequestered building, a varied bunch of clichéd slaughter cattle, several wrong traces, grating doors, power outage, toolbox and some kitchenware) have been fast collected to teach the pubescent moviegoers the meaning of fear. The total lack of sex indicates the conservative attitude of the two mainly responsible but apart from that everything is running by the book. The first slaying as appetizer in the pre-title sequence (absolutely useless for the course of the plot but a foretaste of the early skills of the F/X artist Matthew Mungle, who could refine his style in many movies – recently in INCEPTION and he belongs to the permanent staff of the CSI serial) followed by the obligatory introduction of the mature students who prepare an abandoned building for demolition. Before falling asleep, a more or less gorily slayer is added to the plot in regular distances to keep the paying audience in line. But there is predominantly boredom, as a result of the very low budget of $100.000 US Dollars (no much space for expensive gimmicks) and the very poor excitement of the story. Obrow and Carpenter together staged the similar structured movies THE POWER and ANTHONY but after the Koontz adaption TWILIGHT (Obrow) and SOLE SURVIVOR (Carpenter) their career pretty much came to an end. Talking of the actors only Daphne Zuniga has been granted a slightly bigger career (in the same year she turns John Cusack’s head in THE SURE THING) and in place of the rest the two female “stars” should be mentioned whose only excursion into film business has been this movie. Solely worth mentioning are the really good Make-Up effects as well as the mean final gag which not really fit the topic.
In the course of the „Unrated“, „Extended“ or „Director’s Cut“ wave THE DORM THAT DRIPPED BLOOD attained new honors in April 2011. Under the original title of DEATH DOORM Synapse Film released a DVD/Blu-ray-Combo with the "Uncensored Directors Cut" which besides features some senseless plot extensions and the rough killing sequences have also been extended. Mainly the slayer with the power drill is pretty hard stuff to watch so that one can assume the R-Rated version has been cut at that time. For comparison on hand has been the German VHS Tape from Rainbow Media containing the uncut theatrical version identical to the US R-Rated Version.
Just for the sake of completeness: Two production credits are missing in the Director’s Cut but are still available in the unrated version.
( 12 sec. )
A scene extension: Debbie is going upstairs.
( 6 sec. )
An additional scene: Debbie now walks downstairs.
( 5.5 sec.)
Oops! Debbie‘s Dad gets hit by the spiked mace several times against his head. Due to connection reasons (there’s a cross-fade in the Director’s Cut) the following scene of Debbie starts a little later.
( 10 sec. )
While Joanne is seeking for John Hemmit only the Director’s Cut comes up with some additional settings. There, she first knocks at his door, listens and when nothing happens then walks around the house and peeks through the window. The unrated version starts when she goes upstairs.
( 36 sec. )
There is another scene extension when Joanne leaves the house.
( 6 sec. )
Joanne and Brian are walking longer through the corridors on their search for Hemmit.
( 33 sec. )
And also the scene of Patty and Craig starts earlier in the Director’s Cut.
( 30 sec. )
There’s an additional scene of Craig searching on the roof.
( 28 sec. )
The groundskeeper is pushed down in the sink a little longer.
( 1.5 sec. )
The killing with the power drill is evidently much more radical in the Director’s Cut. In the unrated version the drill bit gets through the skull but only in the Director’s Cut cerebral matter splatters around and there’s also an extra side-view.
( 5.5 sec. )
The shot of the blood spattered mirror is featured in the unrated version but the bloody close-up of the skull is missing.
( 2 sec. )
There is an additional scene of the group at the table before the Cops arrive.
( 9 sec. )
Joanne detects Brian’s mutilated body. Therefore the first medium long shot starts a little earlier in the Director’s Cut.
( 1 sec. )