The Astrologer (1975 horror film)

Lore & Background

A scientist who is investigating reports of the Second Coming of Christ ends up in conflict with a Satan-worshipping suicide cult.

Origins & Production

The film traces its roots to a novel penned by John Cameron, who would later become James Glickenhaus's father-in-law. Glickenhaus secured the rights to adapt Cameron's work and wrote the screenplay himself. Operating on a shoestring budget of roughly $20,000—money he had inherited—he poured everything into the project over a grueling two-year production period. Having attended film school during an era when the curriculum leaned heavily toward avant-garde experimentation, Glickenhaus admitted he lacked practical knowledge of basic filmmaking techniques like master shots, cutaways, and closeups.

This inexperience manifested in a 79-minute runtime that, by his own later assessment, contained around 60 minutes of dialogue. He struggled to convey ideas visually, defaulting instead to extended conversations. At the time, he found the result engaging and fascinating, a testament to how a filmmaker's self-perception can diverge sharply from audience reception.

Cast & Narrative Framework

The story centers on a scientist investigating claims of the Second Coming of Christ, only to find himself locked in a confrontation with a Satan-worshipping suicide cult. The ensemble cast includes Bob Byrd as Alexei, Mark Buntzman as Kajerste, and Glickenhaus himself in the role of Spy. Alison McCarthy plays Rhav, while Al Narcisse appears as Congressman Joe Harwell and Monica Tidwell as Kate Abarnel.

Ivy White rounds out the principal cast as the Indian Maiden. The narrative blends apocalyptic religious themes with horror elements, positioning a rational investigator against a fanatical group. The premise—pitting scientific inquiry against supernatural fanaticism—gives the picture a distinctive flavor within the mid-1970s horror landscape, even if the execution leaned more toward dialogue-driven drama than conventional genre thrills.

Release & Distribution Struggles

With no independent distributor willing to pick up the finished product, Glickenhaus took matters into his own hands and persuaded drive-in theaters in the American South to give the film a screening. Watching audiences react, he drew a sobering conclusion: while viewers didn't outright despise the movie, the segments they genuinely enjoyed were the ones featuring action.

This realization—that the overwhelming dialogue-to-action ratio was the film's fatal flaw—became a defining lesson for Glickenhaus and directly influenced the more kinetic approach he would later bring to The Exterminator. Years later, 21st Century Film Corporation acquired the rights, believing they could extract commercial value from the material. They re-titled it The Suicide Cult, a decision made to ride the cultural wave of the Jonestown massacre and reshape the film's marketing identity for a different audience.

Reception & Legacy

Critics and commentators have offered mixed but often intrigued takes on the film. One reviewer described it as an ultra obscure and undeniably fascinating thriller, acknowledging its cult appeal despite its rough edges.

Another observer pointed out the irony that Glickenhaus's debut is neither a straightforward horror picture nor a science fiction entry, but rather what they termed a pure Christploitation, or Godploitation, romp—a film that trades on religious spectacle and apocalyptic tension. The soundtrack, composed by Brad Fiedel in his debut scoring credit, added a distinctive musical layer to the proceedings. Perhaps most significantly, The Astrologer serves as a crucial early chapter in Glickenhaus's career, a learning experience whose lessons in pacing, visual storytelling, and audience engagement would shape his subsequent, more commercially ambitious work.

Reader's Guide

The film was based on the book The Astrologer written by John Cameron, James Glickenhaus's future father-in-law. Glickenhaus made a deal with Cameron for the book, wrote the screenplay. The film took him two years to produce from start to finish. The film's soundtrack was composed by Brad Fiedel, in his debut.