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."