“However, well into pre-production, Larry Kuppin approached me to say that for ‘some territories’ it might be useful for him to be able to market the film as an Angel sequel.
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“I was hired to direct a movie called ‘Assault with a Deadly Weapon’” recalls acclaimed director Richard Schenkman ( The Man from Earth (2007)).
The Final Chapter was the first of the Angels that didn’t get a theatrical run and, considering its subtitle, there was no expectation for a fourth – not even from the man who’d eventually direct it: But what it loses in continuity, it makes up for in sleaze thanks to a backdrop of pornography and trafficking which is handled with aplomb by Tom DeSimone – a veteran of the adult film industry. Angel III: The Final Chapter (1988) jumps the shark and moves our titular character to New York, changing her from a budding law student and into a freelance photographer. Advancing the story four years, it fails to capture the desperate realism that was woven through the original, and instead becomes a little cartoonish, especially in regard to the returning Tyrrell and Calhoun.
With Angel pulling in six times its budget, it’s no surprise that Avenging Angel (1985) arrived the following year, retaining O’Neill as writer-director but casting a new lead – something that’d happen with every subsequent sequel. Nevertheless, O’Neill delivers a gritty and captivating slice of street life, and litters it with a delightful cast of kooks that includes Susan Tyrrell, Rory Calhoun, and Dick Shawn in drag.
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The former was about a hooker, the latter was about a serial killer – and it was combining these two worlds that would produce the best film of his career, Angel (1984).Īdmittedly, the notion of a fifteen-year-old schoolgirl turning tricks on Sunset Boulevard while a necrophile serial killer stalks the neighbourhood might be regarded as somewhat problematic in these more culturally sensitive times. It was down on the strip, though, where he found his forte, penning the essential Wings Hauser-starring twofer of Vice Squad (1982) and Deadly Force (1983).
Robert Vincent O’Neill was no stranger to the seedy side of celluloid, and began his career cranking out grimy exploitation quickies like The Psycho Lover (1970) and Blood Mania (1970). Dave charts the evolution of the real final chapter in the Angel saga with director Richard Schenkman and screenwriter Dode B.
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