Well, here we are again: it’s the continuing adventures of Belial and Duane (Kevin Van Hentenryck)! Like its predecessor, Basket Case 3: The Progeny replays the final minutes of the preceding film, as we once again see Duane reattach his unwilling brother to his side following the untimely death of Susan. Unlike Basket Case 2, however, we don’t pick up moments later, but instead it’s been a couple of months. Duane and Belial were once again separated, although less traumatically this time, and Duane has spent the intervening time in a padded cell at Granny Ruth’s (Annie Ross) to ensure that he doesn’t exact any further violence on the small community of “unique individuals.” But there’s a new wrinkle in the tapestry of their lives: Eve, the female counterpart to the monstrous Belial, is pregnant, and Granny Ruth doesn’t feel she has the expertise to provide a safe birthing environment, so it’s time to take this (freak)show on the road! So all of Granny Ruth’s X-Men have to load up on a school bus with blacked out windows to travel from her estate in Staten Island to Georgia, where her physician friend (and perhaps former lover?) Hal (Dan Biggers, of In the Heat of the Night fame) will assist with Eve’s birth. Since Duane can’t be left alone, he’s along for the ride as well, straightjacketed and kept apart from Belial, who hasn’t forgiven him for the events that concluded Basket Case 2. Things seem to be going well, as Granny Ruth is reunited with her multi-armed son Little Hal (Jim O’Doherty), first mentioned in the previous film as the catalyst for Ruth’s interest in and defense of “unique individuals,” and Dr. Hal has an amicable relationship with local law enforcement, as evidenced by his friendly and jovial interactions with Sheriff Griffin (Gil Roper), who even knows about and appreciates the mechanical genius of Little Hal. Duane even has a positive interaction with Opal (Tina Louise Hilbert), the sheriff’s daughter. It seems like things have finally turned a corner for the Bradley twins.
That is, of course, until the sight of Dr. Hal in his surgical outfit triggers Belial’s memories of the doctors who originally separated him from Duane, and he attacks the doctor in the middle of Eve’s procedure, mortally wounding the doc and complicating the birthing process. And what a birth it is! Thirteen monstrous little baby Belials come out of the fleshy lump that represents Eve’s womb, one after the other on the same umbilical cord like a nauseating, pulsating string of teethed pearls. They are monstrous. Further complicating matters is Duane’s escape from Hal’s estate; he seeks out Opal so that they can run away together but is recognized as one half of the infamous Times Square Freak Twins, leading two deputies to head out to Dr. Hal’s, where they mistake Eve for Belial and ultimately are responsible for her death, leading Belial on a roaring rampage of revenge, one which involves a dominatrix outfit, an overly long bit involving the alliterative names of all the deputies, and a robotic exoskeleton. And a swarm of little baby Belials, which somehow manage to be kind of cute despite being as disgusting as their father (I think it’s their little animatronic mouths that won me over).
As I said before, Basket Case 2 is my favorite of this trilogy. The original is a classic, but the first sequel expands the number of unique individuals in a way that makes sense, while keeping the majority of the focus on the Bradleys, even when they spend much of the film apart, and shows Duane accepting himself as a unique individual in his own right, separate from Belial. A traumatic event at the end of the film leads him to make a bad decision, but it all holds together. Basket Case 3 is a different animal: neither Belial nor Duane is really the central character here, Granny Ruth is. Belial and Duane’s separation is more than just physical here, as they spend most of the film not talking to each other, although both of them cause trouble for themselves and everyone else by falling back on old patterns of behavior, first when Belial attacks the doctor because his native language is violence, and when Duane exposes Granny Ruth’s cabal because he falls in love with every woman who shows him a moment’s kindness. In each instance, it falls to Granny Ruth to try and rectify the situation, but even when she is the centerpiece, nothing that she does in this film approaches the same energy level as her “Our sanctuary has been violated!” speech from BC2. The closest that we come is the “Personality” musical number, which is delightfully weird, or perhaps Ruth’s final speech to the viewers of “Renaldo” about the importance of playing nice, but neither are as riotous or have the staying power of anything in the previous films.
If anything, the film is simply too unfocused, which may be the result of editorial changes. Supposedly, the producers instructed Frank Henenlotter to make this film less gory than either previous entry and the original script, resulting in the omission of 11 pages from the shooting draft. The excision of this material likely contributed to the more rambling nature of this narrative. For instance, there’s a scene in which the entire Ruth clan appears in a fast food restaurant, freaking out the customers and generally causing annoying havoc, but there’s never a moment of menace, and we see neither Belial or Duane in the whole set piece. Compare this to, for instance, the scene in BC2 where Susan is harassed by a local about how she never comes to his bar and always seems to be buying more food than two women alone in a house could eat: neither Bradley boy is in this scene, but it does set the tone for how others view Ruth and her activities, and creates a sense of tension. We could also compare this to the scene in the previous film where Duane confronts a P.I. at a seedy bar with his fellow freaks: like the fast food restaurant scene, the freaks are in public, but there’s a purpose and an intensity to the scene, despite it being in a ridiculous film.
Still, there’s a lot to love in The Progeny. It may not measure up to the accidental(?) genius of its predecessors, but it makes up for most of its weaknesses with another strong performance from Ross (Van Hentenryck is at the same level as always), and its sudden turn into a revenge flick at the midpoint is a pleasant surprise, even if the franchise’s hallmark gore is greatly reduced for this sequel. You may even end up wanting a little baby Belial of your very own. It’s unfortunate that this us the apparent end of the Basket Case series, as it’s been 18 years since the film, enough time for all those little monsters to start thinking about college and adulthood, which would make for an interesting follow up (then again . . . maybe not), but a man can still dream that we’ll meet the Bradleys again, one day.
-Mark “Boomer” Redmond