The Olive Films May 29, 2018 DVD release of the 1959 film "A Bucket of Blood" that Olive describes as a "black-comedy-beatnik-culture-horror film" by a man that Olive shares is known as "The Pop of Pop Culture" is a wonderfully perverse cult classic with great significance.
This film enhances the Corman films in the Olive catalog by joining "Gas-s-s-s," "The Wild Angels," and the recent Olive release of "The Trip" starring Peter Fonda. The bigger picture is that "Bucket" is a precursor to the better known 1969 Corman black comedy "The Little Shop of Horrors."
Both "Bucket" and "Shop" feature a total nerd giving into an awesomely dark bloodlust in a bid to win the hot chick at work. "Shop" florist employee Seymour Krelborn provides carnivorous plant Audrey II the desired sustenance in a bid to win the heart of the babe for whom he names the plant.
Walter Paisley is a used and abused busboy at The Yellow Door coffeehouse, which is a beatnik hangout, at the beginning of "Blood." The object of his affection is cool cat Carla.
The same type of accident that is happy for the born loser and unhappy from the perspective of society that sets Seymour on the path to success in "Shop" involves a sacrificial cat in "Bucket." The poor kitty who uses up his ninth life is the beloved pet of the landlady of Walter.
Walter stupidly but accidentally killing the pussy leads him to conclude that making art is the best course of action when life gives you a dead mouser. The very avant-garde sculpture "Dead Cat" brings Walter instant fame (and an unfair portion of fortune) at the coffee shop.
Undercover narc Lou Raby (Bert Convy) making the rookie mistake of bringing a gun to a skillet fight inspires the second (and more grotesque) work "Murdered Man." The neighborhood whore subsequent learns not to tease any repressed psycho even if he is not one in Mom's clothing. We further get a local resident paying for what he saw.
The overall beatnik culture contributes much of the fun in "Bucket." The king of the scene embracing Walter to the extent of literally placing him on a throne provides further good period-piece entertainment. This is not to mention seeing the extent to which greed and an equal lust for celebrity outweighs morality.
Corman does even better presenting the truth literally beginning to reveal itself and the surface-thin cool composure of Walter melting away until the mob wants him in an undesirable manner. This leads to enacting the Corman form of justice.
The bigger Corman picture is that this genius fully embraces every element of the B-movies of which he is a master. This includes (such as in "Shop" and "Blood") shooting in black-and-white when not opting for lurid vivid color, using low-budget effects, and figuratively sticking to the script each time. He further is set apart from the makers of other guilty pleasures in that he sets out to create trashlicious garbage each time and greatly succeeds. This (along with the obvious drug influences) makes him the one-man Sid and Marty Krofft of the silver screen.