Monday, March 18, 2024

Faster, Pussycat! Kill! Kill!

 

Faster, Pussycat! Kill! Kill! Poster

(1965) Directed by Russ Meyer; Written by Jackie Moran and Russ Meyer; Starring: Tura Satana, Haji, Lori Williams, Ray Barlow, Sue Bernard; Dennis Busch, Stuart Lancaster and Paul Trinka; Available on Blu-ray and DVD

Rating: ****

Billie, Varla and Rosie

“I like men with big appetites. Only, I could never find one to match mine.” – Varla (Tura Satana)

“I did this because it became difficult for films to be playing in drive-ins. People in Texas, Oklahoma, were busting me – a lot of problems. So, I started with the boys first, three tough boys… made a lot of money. Then I said to Eve, my wife, ‘Why don’t we do one with three bad girls?’ It laid an egg – just died, this picture. No one cared about Faster, Pussycat. Rejected the film… This wasn’t discovered until many years later. Became a big hit, mega hit…” – Russ Meyer (from DVD commentary)

Today’s offering is the movie that John Waters once called the greatest film ever made. While I don’t think I could quite make the same proclamation, Faster, Pussycat! Kill! Kill! is a damned entertaining classic of its kind, especially noteworthy for the many movies and filmmakers it inspired. Ex-WW II army photographer Russ Meyer catapulted to fame with his nudie cutie The Immoral Mr. Teas (1959), before graduating to films with rougher content. Shot in the Mohave (California) desert where temperatures approached 120 degrees, Faster, Pussycat captures the stark beauty of the unforgiving landscape and its tawdry story in glorious black and white.

 

Varla, Rosie, Linda and Tommy

Three go-go dancers,* Varla, Rosie and Billie (Tura Satana, Haji, Lori Williams), wearing outfits that seem several sizes too small, drive to the California desert for burning rubber** and general debauchery. Their revelry is interrupted when they encounter Tommy (Ray Barlow), a would-be hot-shot racer, and his fawning teenage girlfriend Linda (Sue Bernard). Varla, the group’s default leader, quickly cuts him down to size, and in an ensuing scuffle, breaks his back. The women leave his body on the desert sand, and kidnap Linda while they calculate their next move. Through an overeager gas station attendant (Michael Finn), they learn about an old disabled man (Stuart Lancaster) who lives on a nearby farm with his two sons (Paul Trinka and Dennis Busch) and a hidden fortune. They soon set their sights on the farm, scheming to find his money while seducing the brothers. 

* Fun Fact #1: The go-go dancing scene at the beginning was filmed at a real club, The Pink Pussycat, in Van Nuys, California, complete with leering patrons. 

** Fun Fact #2: Lori Williams commented that she lied to Meyer about her ability to drive when she was offered the part, leaving her with no recourse but to learn prior to filming.

Varla

It’s Tura Satana’s* movie all the way as the irrepressible Varla. Clad head-to-toe in black, with long raven hair to match, she commands our attention whenever she’s on screen. She’s the antithesis of the shrinking violet, making men and women alike quiver. She does whatever she wants, whenever she wants, and with whomever (“I never try anything. I just do it.”). When she pounds Tommy to a pulp,** we never doubt for a second that she’s capable of virtually anything. Satana plays the role as if she was born to play it, with a potent mixture of wanton sexual energy and the omnipresent threat of violence. She was apparently so convincing in the bad girl role that co-stars Williams and Bernard,*** fearing for their personal safety, afforded her a wide berth. 

* Fun Fact #3: Meyers had a “no sex” policy for the performers during filming, which Satana proceeded to break. She argued with Meyers that she wouldn’t be able to continue with the shoot under his conditions, so they struck a bargain, where she confined the object of her amorous encounters to the assistant cameraman. 

** Fun Fact #4: As a practitioner of martial arts (including karate and judo), Satana orchestrated her fight scenes. 

*** Fun Fact #5: Satana claimed that she couldn’t get a reaction from Bernard, so she went out of her way to make Bernard hate her (“I scared the living crap out of that girl.”).

Billie and The Vegetable

Haji (Real name: Barbarella Catton) also makes a big impression as the group’s nominal second-in-command (and Varla’s enforcer), Rosie. Although it’s never expressly stated, it’s implied that she and Varla are lovers. When Varla makes the moves on Kirk, the older brother, Rosie becomes visibly distraught, forced to suppress her hurt and anger for the sake of her partner’s plans. Rounding out the trio is Lori Williams as Billie, the outlier of the group. While she half-heartedly plays the bad girl part, she’d much rather be dancing on a stage somewhere (less scheming and more dreaming). In one scene, she makes her intentions clear, biding her time for the right moment to jettison the other two. Unfortunately for Billie, she learns too late that no one leaves Varla without her say-so.  

Linda Gagged by Varla

As the diminutive Linda, Sue Bernard* presents a sharp contrast to the three statuesque women. Short and cloyingly sweet, she’s the embodiment of the wholesome, “all-American” beach bunny, happy to stand on the sidelines and cheer her boyfriend on, while sublimating her identity. She’s the polar opposite of the rough-and-tumble Varla, who refuses to define herself within the context of any man. 

* Fun Fact #6: According to Satana, Bernard’s mother insisted on micromanaging the production as it related to her daughter. Things came to a head when Satana threatened to leave the production after a week of shooting, unless the mother left. Guess who got their way?

The Vegetable, Kirk, and The Old Man

Faster, Pussycat features a strong supporting performance by Russ Meyer regular Stuart Lancaster as the bitter, wheelchair-bound Old Man.* Physically and mentally twisted after he lost the use of his legs from a train accident, he’s become a misogynistic misanthrope who blames women for his misfortune. The Old Man’s hatred for women is only matched by his disdain for his brawny, mentally challenged younger son, “The Vegetable” (Dennis Busch), whom he blames for killing his mother during childbirth. If The Vegetable seems to be modeled after Lenny from Of Mice and Men, his soft-spoken, reflective older brother Kirk (Paul Trinka) is analogous to George. 

* Fun Fact #7: “Old” is relative, as Lancaster was only 45 at the time.

Varla, Rosie, and The Old Man

It’s easy to see why audiences didn’t know what hit them when Faster, Pussycat debuted. Russ Meyer turned the tables on the usual depictions of men as the aggressors and women as the passive recipients of their violent acts. (Spoiler Alert) Even Linda, the damsel in distress, is forced in the end to step up and take action, instead of waiting for a man to save her. So, is Faster, Pussycat about women’s empowerment or is that merely window dressing to justify the main characters wearing revealing outfits and engaging in catfights? Knowing Russ Meyer’s usual modus operandi, he was obviously motivated by the latter, but the strong, independent women in the film were a serendipitous byproduct. Bucking the status quo, however, has its consequences. For all its counterculture posturing, Faster, Pussycat has a simple morality tale at its core, where only the virtuous come out on top.

Linda and The Vegetable

The film’s crisp black and white cinematography is perfect for a story told in bold contrasts and broad strokes. Like its antihero protagonist Varla, there’s nothing namby-pamby about it. Faster, Pussycat! Kill! Kill! was made for drive-ins (ironically the same market it was created for, and where it bombed). Years ahead of its time, it transcended its exploitation origins to become something much more. Its DNA can be seen in John Waters’ anti-establishment antiheroes (particularly as embodied by Divine), or in the Stray Cat Rock series starring Meiko Kaji. Anything that represents a significant paradigm shift is likely to have difficulty finding acceptance at first, but Faster, Pussycat eventually captured its audience. Change was on the cinematic and societal horizon, and it was only a matter of time before filmgoers realized what they were missing.

 

Sources for this article: DVD commentary by Russ Meyer; “Go, Pussycat Go” making-of featurette (2004); Russ Meyer interview, by Jim Morton, Incredibly Strange Films  

Tuesday, March 12, 2024

Turkey Shoot

 

Turkey Shoot Poster

(1982) Directed by Brian Trenchard-Smith; Written by Jon George and Neill D. Hicks; Story by George Schenck, R. Wayland Williams and David Lawrence; Starring: Steve Railsback, Olivia Hussey, Michael Craig, Carmen Duncan, Noel Ferrier, Lynda Stoner, Roger Ward, Michael Petrovich and Gus Mercurio; Available on Blu-ray and DVD 

Rating: *** 

“We are all part of a great society. One which is the product of many generations of thought. While it is true that in the past, mistakes have been made, we now know that society depends on the wholehearted cooperation of every one of its members. There is no room for shirkers, malcontents or deviants. And we are here to help you gain your rightful places in that great society. Freedom is obedience. Obedience is work. Work is life.” – Thatcher (Michael Craig)

Prison Sign

Turkey Shoot (aka: Escape 2000 in the U.S.) rode the wave of Ozploitation films from the ‘70s and ‘80s, which promised excessive violence, flashes of gratuitous nudity, and death-defying stunts – a combination unpopular with critics but ideal for international audiences, hungry for movies that traipsed on the wild side. Director Brian-Trenchard Smith* described his movie as “a bit of a train wreck,” with a budget that was cut in half (to $1.6 million),**/*** just before shooting commenced. The lack of funds necessitated making concessions to the script: the filmmakers cut out the first 15 pages, which would have set up the dystopian society only hinted at by the rest of the film. Another four pages, depicting a climactic helicopter chase, were trimmed from the screenplay, and the shooting schedule (on location north of Queensland) was reduced to 28 days. 

* Fun Fact #1: Trenchard Smith commented: “I make a lot of films for pubescent males, being a perpetual pubescent male, perhaps.” 

** Fun Fact #2: According to Trenchard-Smith, the film was originally set in Depression-era America, circa 1933, but that changed to sometime in the near future, presumably someplace in Australia. 

*** Fun Fact #3: The prison camp set was designed for 500 extras, but only featured 20 to 70 at most, depending on the daily demands of the shoot.

Paul Anders

The opening credit sequence attempts to bridge the gap in the script’s missing prologue, through a montage of news clips depicting civil unrest. We can infer that the resulting future society of 1995 (!) has devolved into a police state, where individual rights have taken a backseat to control of the masses. In the following scene, we’re introduced to three of the key players, as they arrive to their assigned prison camp. Paul Anders (Steve Railsback), who has the most substantial backstory, is a repeat-offender – a political dissident who runs a covert radio show.* For Chris Walters (Olivia Hussey), it’s guilt by association as the formerly law-abiding shop owner is arrested for the misfortune of having the wrong friends. It’s not entirely clear why the third prisoner, Rita (Lynda Stoner), was sentenced to prison, although one can presume it has something to do with her freewheeling attitude, which seems counter to the ultraconservative sensibilities embodied by the sadistic warden, Thatcher (Michael Craig). Accompanying the warden is a small army of guards, who cater to his whims (and some of their own). Not long after they arrive, the new convicts are granted clemency, but there’s a catch. They must survive the hunt. 

* Fun Fact #4: The policeman who whacks Anders with his truncheon is none other than Trenchard-Smith.

Thatcher

In a movie not distinguished by its subtlety, Turkey Shoot features a surprisingly understated standout performance by veteran actor Michael Craig as the empathy-challenged warden Thatcher (guess who he’s named after?). He spews government-sanctioned rhetoric about rehabilitation, while exhibiting blatant disregard for the welfare of the prisoners. Craig (who wrote much of his own dialogue) hits the right notes as a career-minded mouthpiece for the ruling class and its calculating propaganda. Steve Railsback does an admirable job as Thatcher’s nemesis, Paul Anders, who refuses to succumb to the will of the fascist government. He represents the unbroken spirit that Thatcher detests, refusing to buckle under intimidation tactics. Even if it kills him, he’s determined to send the message that no jail can hold him for long.

Paul Anders and Chris Walters Watch in Horror

Olivia Hussey reportedly didn’t enjoy the shoot,* which comes across in her visibly uncomfortable performance (when Hussey objected to a nude scene, a body double was brought in). On the other hand, her unease works fairly well for the character, who’s very much a fish out of water. It takes very little time for the once-compliant model citizen to become disillusioned when she witnesses the abuses of the people in power. 

* Fun Fact #5: According to another cast member, Hussey was terrified by the prospect of being outdoors with Australia’s native wildlife.

Ritter

Ex-pro wrestler Roger Ward creates an appropriately imposing presence as the vicious Chief Guard Ritter, who doles out punishment with a sneer. In one of the most difficult scenes to watch, Ritter beats and kicks a diminutive female prisoner to death, followed by a later sequence when he sets an escapee on fire. Similarly, Gus Mercurio chews the scenery as Red, a man who takes pleasure in ensuring the inmates’ lives are a perpetual living hell. Of course, both characters’ appalling behavior are designed to manipulate the audience, so their horrible comeuppance can supply some much-needed catharsis.

The Hunters Before the Hunt

What would a variation of The Most Dangerous Game be without a cast of cartoonishly villainous hunters? Tito (Michael Petrovich) drives a mini-bulldozer with his trusty sidekick from a sideshow, the beast-man Alph (played by wrestler Steve Rackman), who has a penchant for inflicting pain (and munching human toes). Secretary Mallory (Noel Ferrier) is the picture of excess, with his portly stature, cigar, and phallic firearm. While it certainly seemed several of the male actors were enjoying themselves with their over-the-top roles, the only actress who seemed to be having fun was Carmen Duncan as amoral Jennifer. She dresses as if she’s about to attend a posh soirée with the upper crust, instead of killing unarmed prisoners in cold blood. Her weapon of choice is a crossbow with an assortment of arrows. She enjoys inflicting pain and satisfying her insatiable libido with equal gusto. Both appetites are intertwined as she sets her eyes on Rita. 

Alph

Brian Trenchard-Smith described Turkey Shoot as “1984 meets The Camp on Blood Island,” blending trashy excess with social commentary (dubious crimes and disproportionate punishment, as befits a society hellbent on controlling its citizens). Predictably, Turkey Shoot wasn’t a hit with Australian critics expecting high-minded entertainment, but that didn’t stop it from connecting with audiences to become a modest hit. Trenchard-Smith acknowledged it for what it was, a low-brow crowd pleaser with some heavy-handed satire thrown in for good measure. While the delivery is clunky in parts, Turkey Shoot reminds us that dystopian films never go out of style (we love to see the oppressed fight the oppressors). Although you might not respect yourself in the morning, it’s not a bad way to spend 90 minutes or so.

 

Sources for this article: Severin Blu-ray commentary by Brian Trenchard-Smith; “Turkey Shoot: Blood and Thunder Memories” documentary 

 

Thursday, February 29, 2024

February Quick Picks and Pans

 

Visitors from the Arkana Galaxy Poster

Visitors from the Arkana Galaxy (1981) Robert (Zarko Potocnjak) likes to immerse himself in his writing, much to the detriment of his long-suffering girlfriend, Biba (Lucie Zulová). While working on his latest science fiction novel, his characters suddenly take on a life of their own: Andra (Ksenia Prohaska) an android, two precocious kids, and a terrifying monster that resembles a cross between ALF and Giger’s xenomorph. When they cross paths with Robert’s friends and neighbors, havoc ensues. Director/co-writer Dusan Vukotic’s Croatian-language oddity is full of WTF moments that will make you alternately scratch your head and smile. I’m not sure how this ever got made, but I’m kind of thankful for it.    

Rating: 3 ½ stars. Available on Blu-ray and Kanopy

 

The Cat Creature Poster

The Cat Creature (1973) This mildly engaging TV movie directed by Curtis Harrington (Who Slew Auntie Roo, Night Tide) and written by Robert Bloch (Psycho) plays a bit like a low-key Kolchak episode. After a thief (Keye Luke) steals an ancient Egyptian amulet, people tied to the amulet are killed off by a murderous feline. A college professor (David Hedison) teams up with a skeptical police detective (Stuart Whitman) to get to the bottom of the mysterious slayings before an occult store clerk (Meredith Baxter) becomes the next target. There’s some fun dialogue and nice chemistry between Hedison and Baxter, but the film never adds up to much (no thanks to a silly ending). 

Rating: 3 stars. Available on YouTube 

Tender Dracula Poster

Tender Dracula (aka: The Big Scare) (1974) Peter Cushing stars for his first and only time as a vampire (Or is he?) in this tepid French sex farce. The writers of a popular TV show visit a castle owned by reclusive horror celebrity MacGregor (Cushing). Strange things are afoot when they spend the night with two frisky actresses (Miou-Miou and Nathalie Courval), and something or someone attempts to kill them. Despite the frothy material, Cushing and co-star Alida Valli (as his wife Héloïse) seem to be enjoying themselves. There are a couple of fun nods to Cushing’s work at Hammer, but as a comedy, it falls flat. 

Rating: 2 ½ stars. Available on Blu-ray (included in the Cushing Curiosities box set) and DVD

 

Blood Suckers

Blood Suckers (aka: Incense for the Damned) (1971) A young woman (Madeleine Hinde) travels to Greece to discover the whereabouts of her fiancée, college professor Tony Seymour (Alexander Davion). To her horror, he’s become infatuated with Chriseis (Imogen Hassall) an oddly alluring woman, and the cult that surrounds her. This slow-moving, kind of, sort of vampire movie plays coy with its subject to the point where it ends up being an exercise in frustration with little payoff. Outside of a drug-fueled psychedelic orgy scene (in the uncut version), there’s not much to distinguish this from other, better horror films from the era. Despite being touted as a Peter Cushing vehicle he's barely in it, except for the beginning and ending, as Tony’s mentor, Dr. Goodrich. You’d probably be more entertained by watching a TV test pattern.   

Rating: 1 ½ stars. Available on Blu-ray (included in the Cushing Curiosities box set) and DVD

 

Saturday, February 24, 2024

Guru, the Mad Monk

 

Guru the Mad Monk Poster

(1970) Written and directed by Andy Milligan; Starring: Neil Flanagan, Jaqueline Webb, Judith Israel, Paul Lieber, Jack Spencer, Frank Echols and Gerald Jacuzzo; Available on Blu-ray and DVD 

Rating: **½ 

“Talk comes cheap, my boy, and I’ve learned not to gamble on people’s words. I can’t afford to. I have learned in this mortal life of ours that it is each man for himself. I preach that God takes care of those who believe in him, but I’ve discovered that all my years of believing haven’t helped me one bit. Mother Church sends me little money to exist on, and even then, it doesn’t arrive when it’s supposed to, so I preach one thing and continue believing another. Self-survival. You would be well to remember this.” – Father Guru (Neil Flanagan)

Guru Sentences Nadja

A gargantuan thanks to Rebecca from Taking Up Room for hosting the latest edition of the So Bad It’s Good Blogathon, a continuing celebration of the best of the worst. Today’s offering is a piquant little number by the notorious filmmaker Andy Milligan, Guru, the Mad Monk. I would be remiss if I didn’t give thanks to author/blogger John Harmon for introducing me to the dubious charms of Milligan’s handiwork. Be sure to visit his blog, Tales from the Freakboyzone for articles about Milligan, and much, much more…

Guru, Nadja, Igor and Carl

The late great Andy Milligan’s ambition arguably outweighed his talent by a substantial margin, yet his films have more heart and craft than the generic big-budget prefabricated blockbusters typically churned out by the Hollywood studios. Milligan didn’t know the meaning of staying in his lane, given his limited means, creating costume period pieces for what would seem like pocket change to the typical Hollywood producer. Set in Eastern Europe presumably during the Middle Ages, Guru, the Mad Monk was his most cinematic to date (his first to be shot on 35 mm film), but don’t let that fool you – Cleopatra this isn’t. Guru was budgeted at an estimated $11,000* and in typical Milligan fashion, shot over six days. An old Manhattan church* provided a quasi-Old-World look (get used to it, since the church and its grounds are basically the only setting). The sound of waves crashing and seagulls screeching lead us to believe it’s on the remote island enclave of Mortavia (don’t bother looking it up). 

* Fun Fact #1: This was one of the few offerings by Milligan’s short-lived production company, Nova International Pictures (created in an effort to control his film distribution). 

** Fun Fact #2: According to Cinefear.com founder Keith Crocker, the ever-hot-headed filmmaker was known for entering theaters that held unauthorized screenings of his films, and stealing back the prints. 

*** Fun Fact #3: St. Peter’s Episcopal Church was built in 1831, while the wrought iron fence surrounding the structure dates back to 1790.

Carl Makes a Pact with Guru

Hungry for power and money, the corrupt Father Guru (Neil Flanagan), with the aid of his vampire companion Olga (played by Flanagan’s real-life spouse, Jaqueline Webb) and faithful hunchbacked assistant Igor (Jack Spencer), looks for ways to bring more revenue to his church. He finds the perfect opportunity in Nadja (Judith Israel), a young woman imprisoned for a murder she didn’t commit. Her lover Carl (Paul Lieber) implores Guru to spare her life. In turn he’s employed by the holy man to acquire bodies for medical experimentation, which can be sold for cash (Carl’s ventures away from the church economically occur off-screen). Guru’s plans are sidetracked, however, when Igor falls for Nadja. His position as de facto ruler of Mortavia is further threatened when Bishop Kopel (Frank Echols) pays him a visit, along with his intended replacement, Father Polanski (Gerald Jacuzzo).

Guru's Mirror Scene

Milligan regular Neil Flanagan chews the scenery with his tour de force (or should I say, “tour de farce?”) performance as the title character. Guru’s contradictory behavior becomes a mouthpiece for Milligan’s deep-seated cynicism about organized religion and authority figures in general. In a scene that must be experienced to be believed, he argues with himself in the mirror, revealing the conflicted sides of his psyche (predating Andy Serkis’ motion capture performance as Gollum by 30 years). Every time he’s on screen, you know it’s going to be interesting. One of the few performers in the film with genuine talent, Flanagan was the secret weapon in Milligan’s troupe, having worked extensively in theatre, film, and television.

Igor and Guru

Flanagan aside, Milligan often rounded out his cast with non-actors pulled off the street, friends, lovers, and otherwise (hence, the varying quality of the performances). Paul Lieber,* who plays our hero Carl, recites his dialogue as if he’s reading the fine print in a non-disclosure agreement (calling him wooden is an insult to trees). On the other end of spectrum, Jack Spencer hogs the spotlight as Igor, grinning and hopping around like an overeager puppy, despite Guru’s constant barrage of insults and browbeating (“I can say anything to you, you ignorant bastard, and you just smile”). Jaqueline Web hams it up as Guru’s partner in crime, Olga, feeding off the blood of the executed. 

* Fun Fact #4: With 68 acting credits to date, one can only assume he’s gotten much better.

Look Ma, No Hands!

Guru’s not-so-special makeup effects, depicting the numerous tortures of condemned prisoners, would be gruesome if they weren’t so unconvincing. In one scene, a condemned man’s eyes (resembling hors d'oeuvres at a cocktail party) are gouged out, and a thief’s “hands,” which appear to have been pilfered from a department store mannequin, wobble before they’re chopped off. As stagey and cartoonish as the effects were, one crude decapitation scene was reportedly enough to make someone in the audience throw up.

Father Guru and Bishop Kopel

A highlight (or lowlight, depending on your point of view) of a Milligan production are the slapdash costumes,* created by Milligan himself. Guru’s costumes never disappoint, evoking a bygone, albeit indistinct, era. Witness scraps of furniture upholstery, curtains, and other assorted bits and pieces, held together with nothing more than pins and repurposed to vaguely resemble something from the medieval period, more or less. Meticulously researched adherence to period accuracy took a backseat to the practical requirement of having enough material to cover the cast’s derrieres. Another Milligan trademark on display was the copious amount of cloth draped over the walls of the cathedral to conceal modern fixtures. 

* Fun Fact #5: Frank Echols, who played Bishop Kopel, Guru’s superior, commented on his outfit: “Andy, I look like an old hooker off 8th Avenue.”

Nadja and Carl

Milligan claimed Guru was his worst film,* but don’t let that dissuade you (like most artists, he probably wasn’t the best judge of his own work). While it’s certainly uneven, Guru, the Mad Monk is among his most fun movies. Amidst the goofiness, there are some serious things to say, although considering Milligan’s fickle nature, you’re best advised to take any “messages” with a grain of salt. Working with budgets that would make 1940s Poverty Row productions look lavish by comparison, Milligan did a lot with virtually nothing. Perhaps that’s why his movies resemble something out of another time and place (or maybe another dimension). I would say Milligan’s films are an acquired taste, but I don’t think there’s a way to properly immunize yourself – you just have to dive in head-first. Either they click or they don’t. Lower your expectations, then lower them a few notches down from there, and you might have a good time (don’t expect Martin Scorsese or even H.G. Lewis levels of competence). Does it entertain? Yes, it does. Is it for everyone? Definitely not, but if you’re the kind of person that appreciates Milligan’s special brand of je ne sais quoi, you’re in for a treat. 

* Fun Fact #6: Editing the film was apparently a nightmare for Milligan, in no small part, due to the fact that sound and picture were recorded separately, and frequently out of synch.  

 

Sources for this article: The Ghastly One – The 42nd Street Netherworld of Director Andy Milligan, by Jimmy McDonough; Severin Blu-ray commentary by Keith Crocker; “Remembering Andy Milligan” featurette with Tom Vozza

 

 

Monday, February 5, 2024

Announcing the Mismatched Couples Blogathon

 

The Mismatched Couples Blogathon - The Shape of Water

Opposites attract, so the saying goes, but perhaps it should be “opposites distract.” Whichever way you look at it, we love to see synergy between two characters, but we enjoy it even more when there’s friction. With this in mind, Yours Truly and Gill Jacob from Realweegiemidget Reviews have conspired to bring you the Mismatched Couples Blogathon, a three-day (plus) exploration of less-than-ideal character pairings.

Little Shop of Horrors - Seymour and Audrey

There are countless examples of mismatched couples in cinema and TV, from buddy cop stories, to adventures, to romcoms, and everything in between. For the purposes of this blogathon, the “couple” can be romantic or non-romantic, as long as the relationship between the two characters is a key plot point. Here are just a few suggestions: 

·       The Odd Couple (1968) (The 1970-1975 TV version is perfectly acceptable too!)

·       Star Wars: A New Hope (1977) (Han and Leia or C3PO and R2D2)

·       The Princess Bride (1987) (Westley and Buttercup)

·       Moonraker (1979) (Jaws and Dolly)

·       The Adventures of Priscilla, Queen of the Desert (1994) (Tick and Marion)

·       Die Hard (1988) (John and Holly McClane)

·       It Happened One Night (1934) (Peter and Ellie)

·       Sometimes Aunt Martha Does Dreadful Things (1971) (Paul and Stanley)

·       The Fifth Element (1997) (Korben Dallas and Leeloo or Korben Dallas and Ruby Rhod)


Godzilla and Jet Jaguar

What: The Mismatched Couples Blogathon 

Who: Hosted by Yours Truly (Barry P.) and Gill Jacob 

Where: Cinematic Catharsis and Realweegiemidget Reviews 

When: March 29-31, 2024 

How: Please read the rules below, and send me your post request (review, podcast, etc…) via email (barry_cinematic@yahoo.com), Twitter (@barry_cinematic), Instagram (barry_cinematic), or by commenting below. You may also contact Gill by commenting on her post, or through her blog’s Contact Me page (Be sure to include a link to your blog, your blog’s title, and your preferred name).

 Important Note: Barry will be away from February 10th – 15th, and Gill will be away from February 29th – March 13th. As a result, please be sure to contact us both with your choices, to ensure that we don’t miss them. (See Rule #2) 

King Kong and Ann Darrow
 

THE RULES… 

1.     You may review ANY film or TV show related to the subject, with the exception of biopics. Book reviews are fine, as well. However, please restrict your choice ON-SCREEN couples (no tabloid or gossip material).

2.     To ensure that your blogathon choice is recorded in a timely manner, be sure to send all requests to Barry and Gill.

3.     We will not allow duplicate pairings, UNLESS you are covering a series of films or a retrospective of an actor/filmmaker’s work.

4.     A maximum of TWO entries will be permitted.

5.     When responding with your choice, be sure to add your Twitter/Instagram/Mastodon/Bluesky handle or a link to your Facebook page so we can promote your post.

6.     Please choose one of the banners below to display on your blog.

7.     A full list of blogs, podcasters and review choices will be posted on a separate page and updated regularly.

8.     Only original, never-before-published posts will be accepted.

9.     Send a link to your post/podcast/video to Gill and me during one of the days of the blogathon.

10.  Note: we will publish all the links on both blogs, with daily updates on March 29th, 30th and 31st. If you plan to participate, but you’re running late, please let us know as soon as possible, so we can post a last-minute update.

11.  Please also note: Gill and I have already claimed the following the titles below, so they are off the table, unless they’re included in a larger retrospective (see Rule 2 above).

 

Barry at Cinematic Catharsis – Pink Flamingos (1972)

 

Gill at Realweegiemidget Reviews – Kuolleet Lehdet (aka: Fallen Leaves) (2023)

 

Oh, and one more thing… Remember to grab a banner below and have fun!

 

Mismatched Couples Blogathon - The Odd Couple

 

Mismatched Couples Banner - Indiana Jones and Willy

Mismatched Couples Blogathon - C3PO and R2D2


Mismatched Couples Blogathon - The Shape of Water

 

The Mismatched Couples Blogathon - Polyester 

 

Wednesday, January 31, 2024

Japan-uary XIII Quick Picks and Pans

 

Howl from Beyond the Fog Poster

Howl from Beyond the Fog (2019) In this 35-minute short film from writer/director Daisuke Sato (effects crew, Godzilla: Final Wars, The Great Yokai War), set in the late 19th century, a village lake is guarded by a legendary creature. When a young blind woman and her family are threatened by greedy land developers, the fearsome kaiju (which is also blind) becomes her only salvation. The enchanting tale is depicted through puppetry, subdued light and acute camera angles to depict a monster of vast scale. Sato’s less-is-more approach creates a unique visual experience. My only quibble is that I wish the film were longer, leading me to hope the filmmaker makes a full-length feature someday. 

Special thanks to the late Twitter user Freddie Premo (RIP) for recommending this to me a couple of years ago. 

Rating: ****. Available on Blu-ray, DVD, Prime Video and Tubi

 

The Secret of the Telegian Poster

The Secret of the Telegian (aka: Densô ningen) (1960) In this sci-fi movie with noir overtones, a group of businessmen are being murdered one-by-one, while the assailant is nowhere to be found. Clues point to a former soldier who vowed revenge against the officers who smuggled gold in the waning days of World War II. With the help of a disabled scientist who developed a device to transport matter, he methodically carries out his plan to murder the wealthy profiteers. Jun Fukuda’s second directorial effort is well-paced and suitably creepy (thanks to some impressive effects by Eiji Tsuburaya). It’s a shame The Secret of the Telegian remains largely unknown outside of Japan (it never received a theatrical release in the U.S.), so it’s long overdue for re-discovery.   

Rating: ***½. Available on DVD (Region 2)

 

Bakemono Poster

Bakemono (2023) A demonic creature, spurred on by a bitter middle-aged man (Takashi Irie) who made a pact with it, feeds off suppressed rage. Writer/director Doug Roos’ non-linear film, featuring a diverse Japanese/international cast, follows several guests over the course of a few nights, in a sketchy Tokyo Airbnb.The monster (or “bakemono” in Japanese) lurks in the shadows, pitting individuals against each other (and themselves). The delightfully icky practical effects (also by Roos) recall the work of Rob Bottin on The Thing. It’s a disconcerting, unnerving experience that requires your full attention, but well worth the time. Watch out for it. 

Rating: ***½. Available: Blu-ray (through Indiegogo), but watch for it elsewhere soon!

The Idol Poster

The iDol (2006) Ken (Jin Sasaki), a 20-something otaku who obsessively collects vintage space-age memorabilia, acquires a bright green action figure, which possesses hidden powers. In the span of a day, the fickle plastic toy arranges a dream date with his favorite celebrity, only to have him lose all his worldly possessions several hours later. Director/co-writer Norman England’s Twilight Zone-esque premise works well within the confines of the short film, although it would have been nice to see this expanded into a longer feature. 

Rating: ***½. Available on Tubi 

Sailor Suit and Machine Gun Poster

Sailor Suit and Machine Gun (1981) After her father’s sudden death, high school student Izumi Hoshi (Hiroko Yakushimaru) reluctantly becomes his successor as chairman of a small yakuza clan. As rival gangs close in to destroy them, she inadvertently discovers she has a knack for this kind of thing. Not your typical yakuza movie, Shinji Sômai’s sophomore effort is a winning combination of crime drama with social farce. 

Rating: ***½. Available on Blu-ray and Midnight Pulp

 

The Bullet Train Poster

The Bullet Train (1975) Jun'ya Satô’s tense disaster thriller borrows a page from Airport (1970), starring Shin'ichi (“Sonny”) Chiba in the George Kennedy role, as Aoki, a determined rail employee. In the film’s premise (which, in turn, influenced the 1994 movie Speed), a bullet train carrying 1,500 passengers faces the grim prospect of exploding if it drops below 80 kph. Officials feverishly endeavor to find a way to locate and deactivate the bomb. At two-and-a-half hours, The Bullet Train is a bit overlong, but on the other hand, it devotes a commendable amount of screen time to establishing the bomber (Ken Takakura) and his co-conspirators as sympathetic, three-dimensional characters with believable motivations. 

Rating: ***½. Available on Blu-ray, DVD and Tubi

 

House of Terrors Poster

House of Terrors (1965) After her husband dies in a psychiatric hospital, a grieving widow discovers that she’s inherited a villa he secretly purchased. A stipulation of his will contends that she must share the property with his ethically ambiguous father (who was also his doctor at the time of his death). Most of the film, which recalls Italian gothic horror films of the period, takes place in a spooky old mansion with a creepy hunchbacked caretaker (Kō Nishimura). Although House of Terrors (aka: The Ghost of the Hunchback) borders on being a bit too derivative for its own good, it’s well worth a look for the gloomy atmosphere and pervasive eerie mood. 

Rating: ***. Available on Blu-ray 

Ghostroads - A Japanese Rock n Roll Ghost Story

Ghostroads: A Japanese Rock ‘n Roll Ghost Story (2017) Manabe Takashi stars as the leader of a mediocre retro rock band. He has a sudden burst of inspiration when he encounters the ghost of a blues musician in an old, battered amp, but soon learns that inspiration doesn’t come free. Faced with a Faustian bargain, he must choose between fame and his bandmates. Ghostroads features some fun music and unexpected cameos (watch for L.A. alternative music radio figurehead Rodney Bingenheimer), but Darrell Harris doesn’t really convince as a blues legend, and it misfires as a comedy. At a sparse 77 minutes, however, it won’t wear out its welcome… much. 

Rating: **½. Available on DVD (Region 2) and Tubi 

Cube Poster

Cube (2021) Yasuhiko Shimizu’s remake of Vincenzo Natali’s mind-bending 1997 original about a group of strangers trapped in a vast multiroom structure adds a couple of interesting wrinkles to the original story, but otherwise doesn’t have anything new to say. Even the new booby traps seem uninspired. The characters are underdeveloped, and the drama over who lives and who dies seems more perfunctory than suspenseful. With no one to root for and few surprises, what was once novel is now repetitive and tedious. 

Rating: **. Available on Prime Video, Kanopy and Tubi