An outbreak of syphilis strikes an island community in a sex-fueled grindhouse epic from the writer-director of the notorious I DRINK YOUR BLOOD (1971); it’s quite surprising, then, that STIGMA (1972) is so subtle and low key in its approach. This explains why the critical notices were shockingly positive, and why STIGMA’s debuting 22-year-old star, future MIAMI VICE (1984-89) headliner Philip Michael Thomas, has never been too embarrassed by it (eagerly promoting the film on social media).
He plays Calvin Crosse, an African American doctor. Having just been paroled from jail in Boston, Calvin is on his way to see Dr. Kermit Thor (Duston), who resides in a small island community off the coast of Cape Cod. While hitchhiking Calvin befriends Bill Waco (Harlan Poe), a white soldier on his way to the same island. Upon arriving in this deceptively scenic environ, and confronting a great deal of overt racism, Calvin reports to Thor’s house. He finds a corpse, and an audio recording made by Thor in which he asks Calvin to assume his practice.
It takes around 36 minutes for the main plot point to make itself known via an educational film viewed by Calvin and Bill. Its subject is the horrors of venereal disease (as presented by radio legend “Cousin Brucie” Morrow), which proves quite prophetic, as shortly afterward the elderly Jeremy (William Magerman) turns up at Calvin’s home bearing telltale signs of syphilis. Attempting to track the source, Calvin investigates a local brothel run by Madame Tassie (Connie van Ess), not realizing that the real culprit is the slutty blonde D.D. (Josie Johnson). The daughter of the bigoted Sherrif Whitehead (Peter H. Clune), D.D. has definite reasons for doing what she’s been doing, and for hating her father.
As is often the case with early 1970s grindhouse films, STIGMA suffers from an all-too evident low budget and amateurish production values. Camera shadows are often quite noticeable, as are poorly dubbed dialogue and actors looking directly into the camera.
Yet David Durston’s scripting is surprisingly strong. The hero is developed with great care and deliberation, which could have been deadly, but I couldn’t help but get drawn into Dr. Calvin’s dilemma. It helps that the young Philip Michael Thomas is quite charismatic in the role.
What’s most shocking about the film is its subdued nature. Nudity is plentiful but discreet, with performers filmed from behind and nether regions carefully obscured, and the sexual excess that drives the narrative kept entirely offscreen. The grue is likewise quite low key, with the nastiest bit being the educational film showing the ravages of syphilis. The spotlight is on dramatic intrigue, a daring choice for a grindhouse film, and one that Durston very nearly pulls off.
Vital Statistics
STIGMA
Cinerama Releasing
Director/Screenplay: David E. Durston
Producer: Charles B. Moss, Jr.
Cinematography: Robert M. Baldwin
Editing: Murray Solomon
Cast: Philip Michael Thomas, Harlan Poe, Peter H. Clune, Josie Johnson, William Magerman, Connie van Ess, “Cousin Brucie” Morrow, Richard Geisman, Raina Barrett, “Carter Courtney” (Kevin Andre), “Rhonda Fuller” (Rhonda Fultz), Kathleeen Joyce, Jean Parker, Edwin Mills, James Grace