There are many endings.
On the one hand, it’s arguable that I’ve never seen Gas-s-s-s because I’ve only ever seen it on commercial TV, and the last time was decades ago. The opening cartoon suggests something to a child that the movie itself doesn’t deliver.
On the other hand, it’s arguable that no one has ever seen Gas-s-s-s. Roger Corman ran off to Europe to shoot another film while this was in editing, and lambasted AIP for their editing it down to incomprehensible hash. (I want to blame Sam Arkoff, but I can’t really remember who Corman held responsible.) It was the end of the road for Corman and AIP, and curiously, the end of the road for Roger Corman as a director as well.
The movie takes the Boomer motto of “Don’t trust anyone over 30” and puts it into practice. In the opening credits an accident releases a gas upon the world which kills everyone over the age of 25. (Being in the credits allows us to overlook the question of what sort of accident could spread a gas across the entire face of the planet.) Also, the nature of the apocalypse is fleeting, with way too many people being around, acting normal in some scenes.
Anyway, this was doubtless meant in the dark vein of black comedies like Little Shop of Horrors, but it’s after the experimentation that Corman did for The Trip, and full of the psychedelic imagery and cuts that just annoy the crap out of sober people.
Corman, for all his reputation as an exploitation guy, didn’t pander in this film. Instead of some sort of utopia that his audience might have enjoyed, the world of Gas-s-s-s is more like Lord of the Flies. There’s cynicism and disillusionment and nihilism, and it ends up feeling more like a world where the adults are simply being ignored rather than dead.
Apocalyptically speaking, stories that center around wiping out a particular demographic are seldom as interesting as they should be.
This movie was also a begining, being the first filmed effort of George Armitrage. Armitrage would go on to do a couple of “nurse” movies for Corman, but his writing career probably peaked with the HBO story of the battle between Leno and Letterman, The Late Shift, and his directing career certainly peaked with Grosse Pointe Blank.
There were a handful of new, future celebs in the show as well, with Ben Vereen and Cindy Williams riding across country.
In retrospect, I wonder if Corman didn’t deliberately produce a junk movie because he wanted an excuse to break away from AIP, and to get out of the directing game. It’d be interesting to see a “director’s cut”.
It’s not something you’d want to watch in the expectations of a coherent narrative.