Much has been made of the French "auteur"
theory -- the reasoning that a film's director, consciously
or not, imbues the property with his own unmistakable,
personal vision. Does this reasoning apply as well to
B-level curiosities such as director Pat Boyette's home-grown,
cult-film classic The Dungeon of Harrow (1962)?
"I wrote it, edited it and scored it," he
laughs. "I put some names in there that I made
up so it wouldn't look like one guy." Engaging
every facet of filmmaking for the sheer joy of it easily
qualifies Boyette as a B movie "auteur."