Director William A. Levey later asserted that the film’s imposing lead was not discovered through auditions or an agent but through the producer’s client list — non‑actor Joe De Sue was reportedly cast because he was a client of Frank R. Saletri, the criminal‑lawyer‑turned‑producer tied to several odd genre projects. The same backdoor connection is said to have placed celebrity cult figure Liz Renay in a victim role. If true, the anecdote is a compact example of how low‑budget 1970s exploitation filmmaking often blended legal, financial and personal networks rather than formal studio casting processes. The result can be seen on screen: a physically intimidating but theatrically inept “monster” performance that critics panned and that helped cement Blackenstein’s reputation as an inept mixture of horror and blaxploitation. The claim, however, is flagged in contemporaneous sources and remains uncorroborated, underscoring how rumor, informal patronage and alleged criminal ties circulated around marginal Hollywood productions of the era.
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