Homebodies (film)

Homebodies

Company type	Film
Industry	Film industry
Founded	1974
Founder	Larry Yust (director), Howard Kaminsky, Bennett Sims (screenwriters)
Headquarters	Cincinnati, Ohio; Los Angeles, California , United States
Products	Film
Parent	Cinema Entertainment Corporation

Homebodies is a 1974 American film blending satirical elements with comedy horror, directed by Larry Yust. The cast includes Ian Wolfe, Ruth McDevitt, Peter Brocco, Frances Fuller, Paula Trueman, Linda Marsh, and Douglas Fowley. The storyline centers on elderly tenants residing in a Cincinnati apartment building who turn to murder when their home is threatened with demolition amid urban renewal efforts.

Filming commenced around 1973, with the narrative location relocated from New York City to Cincinnati to mirror the city's prominent urban redevelopment at that time. The ensemble consists of experienced character actors renowned for their supporting roles in classic Hollywood cinema.

Homebodies debuted in Cincinnati on August 13, 1974, under the distribution of Avco Embassy Pictures. Its theatrical run expanded across the United States throughout the subsequent year. Although initially met with criticism for graphic violence, the film was later acknowledged for strong acting performances, technical craftsmanship, and its insightful critique of urban displacement, corporate exploitation, and the neglect of senior citizens.

Plot

Mattie Spencer, an elderly pensioner, observes neighbors being evicted due to a skyscraper project financed by businessman Mr. Crawford. Emily Wilkins, an agoraphobic woman whose father previously owned properties nearby, shares recollections with Mattie. Meanwhile, a construction worker tragically falls from a height at the site.

The Loomises, who serve as building caretakers and neighbors, receive eviction orders from social worker Miss Pollack. Tenant Sandy refuses to vacate, while Mr. Blakely, a blind longtime resident, expresses concern about relocating. After utilities are disconnected, the remaining tenants resort to lighting candles and using fires indoors for illumination and warmth.

An explosion at the construction area results in three fatalities among workers, prompting the foreman and crew to abandon the site. Authorities suspect foul play. Miss Pollack discovers most tenants have left; however, Mattie and Emily are unaccounted for. The Loomises, Blakely, and Sandy are relocated to public retirement housing.

Emily and Mattie ambush Miss Pollack and kill her; Mattie then disposes of the weapon. The others escape from retirement housing and return to their old building, where they dispose of Pollack’s body by discarding it onto a passing train. They lure Crawford into the building, incapacitate him, and entomb him alive in wet cement; Loomis severs Crawford’s protruding foot as evidence.

As demolition continues, Mrs. Loomis experiences guilt and contemplates reporting the murder. Mattie violently silences her and kills Sandy to prevent any disclosure. Emily escapes to the skyscraper site but is pursued by Mattie. Their confrontation on a scaffold is interrupted by a security guard; Loomis and Blakely escort both back.

Mattie threatens to kill anyone who opposes her plans. In response, Loomis, Blakely, and Emily attempt to eliminate Mattie by pushing her before an oncoming truck; she manages to flee into a park. They eventually capture her on a paddleboat and appear to drown her in a lake. As the wrecking ball destroys the building, Emily, Blakely, and Loomis are forced to leave. In an alleyway, they encounter another elderly couple facing eviction just as Mattie reemerges alive.

Development

The screenplay for Homebodies was crafted by Howard Kaminsky, Bennett Sims, and the film’s director, Larry Yust. Production was overseen by Marshall Backlar, with James Levitt serving as executive producer. The funding, amounting to $500,000, was provided by Levitt's father, the real estate magnate William Levitt. Prior to this collaboration, Yust and Backlar had worked together on the 1972 blaxploitation feature Trick Baby.

Casting

The ensemble featured seasoned performers who, as noted by Daily Variety, collectively appeared in around nine hundred films but were receiving leading credits for the first time in their careers.

Filming

Principal photography took place over four weeks in 1973, primarily on location in Cincinnati, Ohio, including sites such as Burnet Woods and Fountain Square. Although initially intended to be set in New York City, the filmmakers opted for Cincinnati due to its active urban renewal efforts, which paralleled the movie’s thematic concerns. This marked the second production for Cinema Entertainment Corporation. Additional interior shots and scenes involving skyscrapers were completed over two weeks in Los Angeles.

Release

Although Homebodies was scheduled to be shown at the Cannes Film Festival, it ultimately did not screen there. In June 1974, Avco Embassy Pictures secured international distribution rights. The film premiered worldwide at Cincinnati’s Skywalk Cinema on August 13, 1974. Promotional campaigns included newspaper advertisements designed like public service announcements with the slogan: "Do you know where your grandmother is tonight?"

The release expanded gradually across various U.S. cities such as Lexington, Minneapolis, Fargo, and Raleigh through late 1974 into 1975. Theatrical runs also reached Canadian markets including Hamilton and Toronto, where it opened on December 6, 1974.

Home media

Sony Pictures brought Homebodies to VHS format on June 23, 1994. Later, Kino Lorber released a special edition Blu-ray version on November 2, 2021.

Contemporary

The National Catholic Office acknowledged some scenes as "grisly" but commended the film’s underlying message regarding society’s disregard for elderly populations amid urban development. Critics like Jim Clements from The Hamilton Spectator emphasized the narrative’s focus on urban displacement and corporate exploitation beneath its horror elements. Dorothy Smiljanich of the Tampa Bay Times observed a tone that was both serious and morally ambiguous.

Some reviews were less favorable: Jean Dietrich of the Courier Journal criticized the screenplay despite an intriguing concept; Jay Cocks from Time recognized technical competence but lamented a lack of cleverness. The graphic violence provoked divided opinions—Ridge Kennedy of the Evansville Press found it distasteful yet acknowledged its narrative necessity; Patrick Taggart of the Austin American-Statesman described it as obscene but credited strong acting performances for redeeming the film. Alvin A. Kushner questioned how a PG rating was assigned given explicit murder scenes, while Victor Stanton of the Waterloo Region Record praised its intentional shock value paired with polished filmmaking.

Retrospective

Time Out applauded its blend of humor and suspense, particularly highlighting Trueman’s performance. AllMovie referred to it as "an unexpectedly haunting piece," praising both character development and direction. TV Guide awarded it two out of four stars, noting its competent cinematography despite an unusual premise.

Glenn Erickson from Trailers from Hell remarked on its genuine depiction of elderly defiance and escalating societal violence. Ian Jane of DVD Talk, reviewing the Blu-ray release, commended its solid production quality and dark comedic elements.

Dave Sindelar at Fantastic Movie Musings and Ramblings described it as an "engaging curiosity" characterized by quirky humor and strong performances, especially from Trueman.

The horror-focused site The Terror Trap rated it three out of four stars for acting quality, humor, and its depiction of urban decline, calling it "a heartwarming horror story."