BLADE RUNNER (1982) & BLADE RUNNER 2049 (2017)

When Denis Villeneuve’s Blade Runner 2049 was released this Fall, many were surprised that it did not meet box office expectations. Nor did it’s father, Ridley Scott’s Blade Runner (1982). Having seen the original on its opening weekend, I’m among those who witnessed its initial weak box office evolve into a cult phenomena.  John Carpenter’s The Thing, released the same year as Blade Runner, also took off slow amidst lukewarm reviews, yet both became examples of visionary science fiction, joining a small cluster of classic films from the last half century that includes Close Encounters of the Third Kind (1977), Invasion of the Body Snatchers (1978), Alien (1979), E.T. (1982), Videodrome (1983), Back to the Future (1985), The Fly (1986),  A.I.(2001), Minority Report (2002), Eternal Sunshine of the Spotless Mine (2004), Children of Men (2006), and Prometheus (2012) (and of course a few others). Like  Steven Spielberg’s aforementioned Close Encounters, competing edits of Scott’s Blade Runner (my advice: go with “The Final Cut”) didn’t hinder its eventual cult status.

Based on Philip K. Dick’s novel “Do Androids Dream Of Electric Sheep?,” the iconographic texture of Blade Runner was apparent mere moments into its release, despite the awkwardness of the silly studio-mandated Phillip Marlowe narration (supplied by star Harrison Ford as Deckard) and a happy ending that was woefully unconvincing for a film that practically defined dystopian noir. Thankfully, Scott was able to restore the film and added to it considerable by omitting those executive errors (while excising five minutes).

With his “Final Cut,” Scott cemented Blade Runner as his second (and greatest) of three unquestionable science fiction classics (the first being Alien and third being its belated prequel Prometheus—which of course will provoke futile debate). The cast is uniformly excellent. Despite its initial weak box office performance, Blade Runner made a brief star of antagonist Rutger Hauer, whose characterization of the replicant Roy is far more haunting and aptly hammy than its source material. The same could be said for Sean Young; she’s magnetic as Rachel, in her chic 2019  Joan Crawford shoulder pads and Louise Brooks-inspired bob, diaphanously exhaling a smoky-treat. Darryl Hannah as Pris (with lethal thighs), Brion James as Leon, and the eternally underrated Joanna Cassidy as the snake-wielding Zhora make a trio of memorable replicant villains, more poignantly human than most of the humans. Apart from Ford’s Deckard, who—as has been noted and debated endlessly—is possibly a replicant himself, the human exceptions are Joe Turkell as doomed Dr. Tyrell and William Sanderson as the pathos-ridden toymaker Sebastien. Both remain etched in the memory.

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1964 DRIVE-IN DOUBLE FEATURE: HORROR CASTLE AND CASTLE OF THE LIVING DEAD

Our Next Attraction…

“The most exciting feature of the year! Lady in a Cage… and Olivia de Havilland is in it! A lady in a cage, locked in her own madhouse of insane intruders, powerless to stop the psychopathic horror that hems her in. Olivia de Havilland helpless before the rage of such characters as the Wino, half-crazed with his own destroying sin… the Hustler, a blousy has-been—the most amazing role Ann Southern has ever played… the Muscler, lusting for the last wild thrill of killing… the Weirdo, a blonde psycho driven to tempt, to taunt, to destroy… the Wildo, frenzied by a woman’s body or the razor edge of a sharp, glittering knife. They’re all in Lady in a Cage, the picture that is not for the weak; and perhaps, not even for the strong! If you cringe at violence, scream at fear, faint at horror—Lady in a Cage may not be for you. But if you can take the screen’s hyper-dramatic excitement—don’t miss it! Olivia de Havilland is shocking the screen as the Lady in a Cage.”

Also…

Party Girls for the Candidate. See the wild sex party that rocked the nation’s capital. Party Girls for the Candidate will bring you love scenes that only adult moviegoers will understand. Party Girls for the Candidate will show you party girls who will do anything for a price. Party Girls for the Candidate stars those two sensuous personalities, Mamie Van Doren and June Wilkinson, and introduces to the screen three exciting new personalities: Ted Knight as the candidate; Eric Mason as Buddy Barker, the ex-senate page-boy who built an empire of influence in the nation’s capital; Rachel Romen as Mona Archer, the innocent girl who succumbed to Buddy Barker’s web of sex intrigue. Party Girls for the Candidate is the most explosive film ever produced in Hollywood. Party Girls for the Candidate is a must see for every moviegoer. Don’t miss it!”

 

Horror Castle (AKA The Virgin of Nuremberg, directed by Antonio Margheriti) is one of the first Italian Gothic films shot in color. It was successful enough to green-light a followup the next year: Castle of Blood, starring Barbara Steele. Having coaxed the genre into two of its earliest, most popular color productions, Margheriti should be better known; but ultimately he’s merely a competent craftsman instead of an inspirational original, and the move to color inevitably proved an aesthetic step back (although financially beneficial) for the genre. Still, Horror Castle is a reasonably effective entry. The color, like the surreal lounge score by Riz Ortolani, is paradoxically both ill-fitting and striking. Margheriti’s sensual color palette echoes the auburn quality of minor Italian cult starlet Rossana Podesta and he compositionally caresses her into the macabre surroundings.

Storywise, Horror Castle is hardly earth-shaking. Newlywed Mary (Podesta) has some horrific visions within the ancestral German castle of husband Max (Georges Riviera), who resorts to the standard “you must be tired from the trip” response. Her visions include a victim of an iron maiden and a sadistic crimson executioner prone to punish sins with surprisingly gruesome methods (one involving a rat). She runs, falls, faints, and recovers in bed, to Max’s condescending “it must have been a horrible nightmare.” Marguerite mantles Mario Bava with gusto in a chase-through-the-garden scene and milks all he can from the fascistic color scheme.

Max has a couple of apparently sinister servants in Erich (a poorly dubbed, but memorable Christopher Lee, in a supporting role) and Martha (Laura Nucci), but themes of Nazism and the Valkyries provide an unexpected contemporary, pathos-laden twist, and red herrings as well.

Despite its flaws, Horror Castle is stylish and animated; possibly Margheriti’s best work, aided by an off-the-scale fiery finale.

“Our tempting, tasty french fries go with everything. Come and get ’em. They are hot, they are delicious.”

“Taste tantalizing hot tamales; rich, creamy milkshakes taste just right; snow cones—frosty flavor rich refreshment; cigarettes—all the best known brands!”

“Hello young lovers—whoever you are—we’re glad the LOVE BUG caught up with you! But… we must insist that you do not allow his bite to effect your conduct while this theater. Public demonstrations of affection will not be tolerated here. ‘Nuff said? Thanks, the Manager.”

“Attention Night Owls… Here comes a BIG DUSK TO DAWN SHOW! You’ll see 6 Full-length features packed with action ‘n fun. All different. BRING THE GANG! COME OUT EARLY! Stay as late as you can. You’ll have a ball! Don’t miss the Big DUSK TO DAWN SHOW!”

“There are words men live by. Words of strength, of wisdom, of peace. We urge you to find the spiritual comfort and guidance  we all so greatly need. Attend your place of worship regularly.”

It’s usually not a good sign when a film has three credited co-directors (Warren Kiefer, Herbert Wise, and Michael Reeves). Castle of the Living Deadalso had a trio of writers (Keifer, Reeves, and Fede Arnaud) and an international cast speaking three languages. No one was able to reign in the project.

Living Dead is known for another memorable Christopher Lee performance, for the debut of  Donald Sutherland (in a trio of roles), and for a well-executed climax written and directed by Reeves, whose work so impressed producers that he was later tapped to direct future cult favorites The She Beast (1966), The Sorcerers (1967), and The Conqueror Worm (1968) before his untimely overdose. It’s hampered most by its poverty-level budget, but despite everything it manages to project an original personality.

A group of circus performers happen upon the castle of Count Drago (Lee) who has a hobby of mummifying four-legged critters. Of course, it’s not long before he moves on to the two-legged variety, supplied by the theatrical troupe.

Numerous scenes are nonsensical, having little to do with the unfolding plot. Naturally, those include vignettes displaying various three-ring circus acts with a scene-stealing dwarf (Ennio Antonelli). Caked in opaque white makeup and black mascara, Lee gives an otherworldly, German Expressionist-styled performance, and thankfully dubs his own voice this time. Other standout performances include Gaia Germani as Laura, whose beauty Drago seeks to “preserve forever,” Mirko Valentin (who had a small part in Horror Castle) as the count’s sadistic, bug-eyed assistant, Luciano Pigozzi as Dart, and Sutherland (with Sutherland).

Cinematographer Aldo Tonti (who had previously worked with Fellini) manages wonders with a meager allowance and casts the film in stylishly detached, icy bleakness.

Languidly paced, which is both an asset and a hindrance, the kinetically bizarre finale is pure Reeves.

“That you for your patronage. Please drive carefully.”

This review, including the drive-in bumpers, refers to the double-feature available from Sinister Cinema.

1979 EXPLOITATION TRIPLE FEATURE, PART TWO: MALIBU HIGH AND THE BUTTERFLY MURDERS

Gas Pump Girls (directed by Joel Bender) is a slice of 70s drive-in T&A. Not aspiring to be anything else, it revels in its Americana kookiness. June (Kirsten Baker) takes over a gas station from her uncle (Huntz Hall from the Bowery Boys) after he has a heart attack. She trains her tight tanktop, short-short-wearing girlfriends to pump gas (“Stick it in, squeeze it, and let it peter out”), which naturally leads them to take on a big bad oil company. Musical numbers and topless scenes are thrown in just for the hell of it, and why not? There’s a punk gang, too; the film is almost a hybrid of the Ramones doing a Grease soundtrack on a “Happy Days” set with a bit of Rockythrown in. Yes, it’s that cool. It was influential and Bender does wonders with virtually no budget, making this quintessential 1970s trash.

H.O.T.S (directed by Gerald Seth Sindell) is another uddersploitation offshoot of Animal House. It can be summed up as politically incorrect campus topless football. Given that its inspiration isn’t very good to begin with, H.O.T.S. doesn’t set it sights very high, and is all the better for it.

Linda Blair’s cleavage, Linda Blair’s legs, lots of hair, lots of polyester, lots of spandex, and lots of skating add up to a late 70s campfest in Roller Boogie (directed by Mark Lester). It’s embarrassing in the best way.

Bad men kidnap a busload of pretty, all-American cheerleader boobs in The Great American Girl Robbery (directed by Jeff Werner). Ra-ra.

Malibu High (directed by Irvin Berwick) is what 70s drive-in cinema was all about—sex, drugs, and amorality. Hallelujah! Kim (Jill Lansing, in her only film role) is flunking school, just got dumped by her boyfriend for a rich bitch, hates her bathrobe-wearing mama, and her daddy killed himself. What’s a girl to do? First, bed all the teachers. Now, Kim has a 4.0 GPA, but she wants nice things, too, dammit. With her new miniskirt, Kim figures she might as well get paid for what all those stupid girls do for free. Meet Kim, the hooker who’ll rock your van into the gates of paradise. Alas, poor Kim also likes the wacky tobaccy, and we know what that demon will do—turn you into a gun-toting hitman with a pop-gun. Lansing plays her sociopath without an ounce of sympathy and even less talent, with thespian skills so tawdry that it’s easy to see why she became a minor cult goddess. Even worse is the writing, which seems penned by a clueless tenth grader, and the score by a tone deaf composer. It’s mind-boggling enough to be a trash masterpiece that can rank with the likes of Larry Buchanan.

In the future, future generations may see fit to an erect a future Mount Rushmore homage to the likes of Ed Wood, Al Adamson, Doris Wishman, and Larry Buchanan in the future. And why wouldn’t they, with gems like Buchanan’s Mistress of the Apes? See Susan (Jenny Neumann) fill a pair of white daisy dukes. See Susan teach a missing link how to deep throat a banana. See Susan scratch her armpit and beat her boobs. See Susan become goddess of the jungle. Among the injustices of the world is the academy’s total failure to nominate “Ape Woman” as Best Original Song.  Oh, e, oh, oh, e, oh.

Weasels Rip My Flesh is not a long-lost  Frank Zappa movie. Rather, it’s a Nathan Schiff opus that’s among the most uproariously incompetent movies ever made. (Keep in mind that Schiff was a 16-year-old teenager with a Super-8 camera and a $400 budget).  A NASA probe from Venus crashes in Long Island, emits radiation, and creates a giant paper machete weasel. The acting is mortifying, the audio is often indecipherable, the editing and writing are mind-numbing, and the cheap camerawork is shaky,  but Schiff managed to make a cult film for the ages. God bless him.

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1964 EXLPOITATION TRIPLE FEATURE: THE INCREDIBLY STRANGE CREATURES WHO STOPPED LIVING AND BECAME MIXED-UP ZOMBIES, 2000 MANIACS, AND THE CREEPING TERROR (WITH BONUS: STRAIGHT-JACKET )

straight-jacket

1964 was nearly as productive a year for the cinematic horror genre as 1963 was. Coming from the barrel bottom was Jerry Warren’s improvement on 1960’s La Casa del Terror, Face of The Screaming Werewolf, starring (sort of) Lon Chaney, Jr. and Yerye Beirut (who later co-starred with Boris Karloff in a string of Mexican films co-produced by Jack Hill). Chaney was probably less embarrassed (although doubtfully any less sober) working for Hammer director Don Sharp in the well-received Witchcraft. Fellow Hammer veterans Freddie Francis and Peter Cushing collaborated on the actor’s only non- Terence Fisher directed Frankenstein opus, The Evil of Frankenstein, which initially received poor reviews, but has since been reassessed in a more positive light (in some quarters). Without a star actor (or competent director) Hammer’s The Curse Of The Mummy’s Tomb (DirMichael Carreras) was as limp as its title character. However, the dynamic trio of Cushing, Christopher Lee, and Barbara Shelley did their best work (despite a silly-looking title creature), as usual, for Terence Fisher in The Gorgon. Lee didn’t fair as winningly in the Warren Kiefer/Luciano Ricci co-directed Castle Of The Living Dead, despite having closing scenes directed by an uncredited Michael Reeves. Lee moved from a castle to a mere crypt in Crypt Of the Vampire (directed by Camilio Mastrocinque), which was as narratively pedestrian as its title,despite undeniable atmosphere. The icon of Italian Gothic cinema Barbara Steele (and the last living of the classic horror stars) was also at home in a castle setting in Castle Of Blood (Co-Directed by Antonio Margheriti and Sergio Corbucci) and teamed again with Magheriti in The Long Hair Of Death, which we will be covering soon in a Steele triple feature. The final two Poe films from Roger Corman and Vincent Price, Masque Of The Red Death and Tomb Of Ligeia were  among their best received, although the latter features yet another ingratiatingly whiny, flowery performance from its  star. Rounding out a busy year, Price starred in The Last Man On Earth (Co-directed by Ubaldo Ramona and Sidney Salkow),  the first of several big screen adaptations of Richard Matheson’s “I am Legend,”none of which astoundingly could get right.

the-incredibly-strange-creatures-who-stopped-living-and-became-mixed-up-zombies

Blood and Black Lace predictably became yet another cult film from Mario Bava, but even he could not compete with the legendary Kwaidan (directed by Masaki Kobayashi), which puts most Western horror anthologies to shame. Down several notches is Del Tenney, who has an inexplicable cult reputation, but as both I Eat Your Skin and The Horrors Of Party Beach prove, that status is undeserved for such a dullard. Spiraling downward, ever downward we come to Ray Dennis Steckler’s biggest budgeted film, The Incredibly Strange Creatures Who Stopped Living And Became Mixed-Up Zombies, which is more famous for its title than the film itself. There’s a reason for that; It also commits the cardinal sin of being hopelessly dull. It doesn’t have zombies per se, but victims of the carnival fortune teller, Madame Estrella who throws acid in people’s faces, turning them into “monsters.” Despite bad sound, obnoxious acting (including Steckler himself under the pseudonym Cash Flagg) and execrable “rock and roll” numbers that have nothing to do with the plot, it’s sort of decently shot-in color- by Vilmos Zsigmond (Close Encounters Of The Third Kind-1977), but even the lensing is guilty of “incredibly slow and pointless shots of carnival rides,” which would perhaps be a better title.

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1962 EXLPOITATION TRIPLE FEATURE: MONDO CANE, EEGAH, AND WILD GUITAR

“All the scenes you will see in this film are true and are taken only from life. If often they are shocking, it is only because there are many shocking things in this world.”

mondo-cane-1962

Thus, Mondo Cane not only introduced America to the mondo name and genre, it also was the first shockumentary to play in cinemas internationally, unsettling both critics and audiences who had never seen anything like it. It became a grandfather to countless pseudo-sequels and imitations, including the infamous Faces of Death, and for that reason alone Mondo Cane is of historical importance to bizarre cinema aficionados. Although dated and outdone by its successors, Mondo Cane retains its power to provoke—and that is the sole purpose of this film, which further renders it an original in every way.

mondo-cane-1962

Although Mondo Cane has been accused of having a xenophobic perspective, its hard to make that point when the filmmakers (Paolo Cavara, Franco Prosperi , and Guiltiero Jacopetti) consistently contrast primitive and western customs through condescending narration. It’s really a series of mostly unrelated film clips. Food is the theme most explored: from Asians eating dog, to rattle snake entrails in the marketplace, to pigs beaten to death in New Guinea, to civilized diners devouring ants in a posh restaurant.

mondo-cane-1962

A scene of a sea turtle slowly dying on a radioactive beach is beautifully harrowing and juxtaposed against the extended, revolting spectacle of a bull goring a man to death. While recommending the film to anyone with suicidal tendencies probably would not be a good idea, Mondo Cane is not without some humor, seen in its pet cemetery vignette, and in the contrast of savage native women being fattened to become the bride of a chieftain with Western women rolling their fat away on the floor. Very well-shot and surprisingly endowed with a sterling score (by Nino Oliviero), Mondo Cane is cinema at its most bi-polar and nihilistic. How nihilistic is it? It’s the only film I know of that will inspire the viewer to pity a man-eating shark.

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KEN RUSSELL’S VALENTINO (1977)

ken-russells-valentino-1977

Of all the star-worshiping that went on during silent cinema, it is perhaps the obsession with Rudolph Valentino that is most mystifying today. When he died prematurely, at the age of 31, numerous fans were so distraught as to commit suicide. His funeral was besieged by thousands, and a legend was born when a mysterious lady in black began annually placing funeral wreaths on his tomb for decades to come. Valentino had such an impact on pop culture that everyone from Bela Lugosi to Elvis Presley were influenced by him.

rudolph-valentino

Yet today, there are relatively few Valentino film festivals or revivals, and when his films are seen (rarely), they will inevitably prove disappointments. Valentino never made a great film. In fact, most of them are dreadful. (In his defense, he didn’t make very many). Of course, someone will inevitably make the tiresome 21st century claim that this is true of most movies from the silent era, despite the fact that there are plenty of films from that period that have good writing, performances, direction and hold up even better than many films of the Fifties and later. We could attempt to produce examples of stellar acting in lesser films, however, this does not work with Valentino. Although his charisma scorches, his acting is extreme in its use of silent film cliches, mechanical and bizarrely exaggerated to the degree that it elicits amusement today as opposed to the near orgasmic reaction of his contemporaneous fans. Undeniably eroticized, his screen persona was also amoral; he was a rapist. Otherworldly, he doesn’t even seem human, which is perhaps why he is primarily known by name alone. It’s doubtful if many today would even recognize his image.

son-of-the-sheik-1926

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1961 EXLPOITATION TRIPLE FEATURE: THE CHOPPERS, HERCULES IN THE HAUNTED WORLD, AND WEREWOLF IN A GIRLS’ DORMITORY

 The Choppers (1961) Arch Hall, JR

Arch Hall Jr. is practically American cinema’s masochistic patron saint of Juvenile Delinquent exploitation garbage. Guided by daddy Arch Sr. (who penned the script and produced)The Choppers was Junior’s first film in a mercifully brief career (he retired in 1965 to become a musician and aviator—daddy was ex-Air Force).

To most contemporary viewers, Hall, Jr. is possibly best known for his second film, Eegah (1962)after it was featured on Mystery Science Theater 3000—although to the cult crowd, his crowning achievement is 1963’s The Sadist. Both of these will be covered here, along with Wild Guitar (1962), in upcoming exploitation collections from their respective years.

 

In Leigh Jason’s The Choppers, Hall is cast as Jack “Cruiser Bryan, the greasy-haired rockabilly leader of a gang of car-part thievin’ JDs. After stripping down cars, the Choppers take their loot to junkyard dog Moose (Z-movie veteran Bruno VeSota, familiar from Attack of the Giant Leeches, Wasp Woman and Bucket Of Blood), who gives them ten cents on every buck!

The Choppers (1961) Arch Hall, JR

Working out of their chicken coop truck, the Choppers also siphon gas out of unsuspecting vehicles, with Cruiser taking the role of the lookout guy who taps the steering wheel to the radio music he loves (which, the credits reveal, is Hall’s own song). For most of the film, the Choppers remain one step ahead of bland coppers and insurance suits. Later, we actually get to see Hall strum his guitar and sing “Monkeys in my hat band, I can do a handstand.” The jaw-dropping scene alone makes the entire film worthwhile. With rhyming genius like that, we can totally understand how Cruiser is a chick magnet who attracts a 1959 Playboy centerfold!

The Choppers (1961) Arch Hall, JR

The yawn-inducing plot requires a comeuppance, which seems a tad harsh for the Choppers stealing car parts, but the producers probably realized a minute or so of something resembling excitement was necessary.

Hercules In The Haunted World (1961 Mario Bava)

Mario Bava‘s Hercules In The Haunted World stars Christopher Lee with apocalyptic hair. Bava and Lee, together with a bulging pair of male mammary glands in a loincloth (Reg Park), overcome laughably bad dialogue, near-fatal comic relief, echo boxes informing us that “these are gods!”, a prosaic plot, shrill dubbing, a green monster who must have been an ancestor of Sigmund The Sea Monster, and a bulimic budget to produce one of the most psychedelic sword and sandal fantasy flicks of the early 60s.

Hercules In The Haunted World (1961 Mario Bava) Christopher Lee

With painted sets and sky, diaphanous tints, swirling ink vapors, and transcendent camerawork, Bava’s cardboard Hades is the quintessence of orgasmic psychedelia masquerading as Greek mythology. For a G-rated movie, there’s plenty of testosterone bandied about, both between Hercules and Theseus (George Ardisson) and Lee and Deianria (Leonora Ruffo).

Hercules In The Haunted World (1961 Mario Bava) Christopher Lee

It almost doesn’t matter that Lee’s baritone is tragically dubbed. He’s still in full vampiric mode: seducing, impaling and stabbing (with a pair of wire cutters, no less).

Hercules In The Haunted World (1961 Mario Bava)

As for the plot- it’s not really exploitation per se, but it’s as irrelevant as any in the sword-and-sandal genre, and the movie stars that god of drive-in cinema, the much-missed Christopher Lee… so, no apologies given for slight cheating here.

Hercules In The Haunted World (1961 Mario Bava)

Werewolf In A Girl’s Dormitory certainly is exploitative horror, but those expecting only to be titillated by hairy boobies might be slightly disappointed because, despite its camp title and opening credits song “(The Ghoul In School),” this is a surprisingly atmospheric chiller directed by Paolo Heusch. Like Bava, Heusch employs what craft he can to overcome an inept script and dialogue. Unlike Bava, he doesn’t really succeed, although credit should be given for the effort. It is an Italian production that was purchased by MGM, dubbed into English, and shown on a double bill with the underrated Robert Day/Boris Karloff feature Corridors of Blood (1958).

Werewolf In A Girl’s Dormitory (1961)

Doc Julian (Carl Schell) is the new science professor at an isolated girls dormitory. He has a shady past, having unintentionally killed a patient whom he tried to cure of lycanthropy (werewolfism). Acquitted, he finds employment at the dormitory whose director has an obsession with werewolves.

Meanwhile, Sir Alfred (Maurice Marsak), the administrator, has been playing hanky panky with Mary (Mary McNeeran). Mary offers Alfred sex in exchange for her release from the dorm. Adhering to Wes Craven’s Scream (1996) rule that sex equals death in horror, Mary gets stalked and murdered by a werewolf during the full moon. The scene recalls the atmosphere from Universal’s Wolf Man, but is decidedly more gruesome and actually better shot (avoiding all that canned Universal fog). Mary’s slashed body is found, face up, lying in a creek in the woods surrounding the dorm.

Werewolf In A Girl’s Dormitory (1961)

With Julian being the new kid in town, he is quickly suspected and…  a muddled plot follows, filled with idle chatter, blackmail, a red herring, pseudo-scientific babble, and a werewolf who looks more like Mr. Hyde than Lon Chaney Jr. Still, we watch this type of thing for the Gothic atmosphere, which this is chock full of; for a pretty girl (Barbara Lass, the first Mrs. Roman Polanski) getting terrorized; and for stylish supernatural mayhem—all of which Werewolf delivers. Alas, it tries to be too many things—a murder mystery (which is no mystery), a bad girls in a reformatory pic, and Euro horror. It veers closest to success in the latter. The title alone’s worth a bucket of cheese popcorn.

Werewolf In A Girl’s Dormitory (1961)

 

BARRY MAHON DOUBLE FEATURE: THE WONDERFUL LAND OF OZ (1969) & THE BEAST THAT KILLED WOMEN (1965)

Wonderful Land Of Oz (1969, Barry Mahon)

Barry Mahon is another 366 weird movie saint awaiting canonization.  His directing breakthrough was with the Errol Flynn fiasco Cuban Rebel Girls (1959), which is essential bad film viewing. For another eleven years, Mahon made one godawful film after another until someone wised up and quit funding this hack (he died in 1999, never making another film after 1970). He was something of a Zach Snyder for his time, although no one was stupid enough to give Mahon millions of dollars.

Wonderful Land Of Oz (1969, Barry Mahon)

Most of Mahon’s films were  Z-grade nudies (International Smorgas-BroadThe Adventures of Busty BrownFanny Hill Meets Dr. Erotico), but there are a few execrable standouts, with The Wonderful Land Of Oz (1969) and Thumbellina (bundled into 1972’s certified weird Santa And The Ice Cream Bunny) being among the most memorable.

Wonderful Land Of Oz (1969, Barry Mahon)

Literally looking like garage filmmaking, The Wonderful Land of Oz opens with a warbled song and introduces us to hanging sheets, Glinda (still annoying, regardless of who plays her), a papier-mâché purple cow with blinking eyes, and badly costumed characters, including the Wogglebug: a man with antenna, bug eyes, and a walrus mustache.

Wonderful Land Of Oz (1969, Barry Mahon)

The Tin Man and Scarecrow are obligatory characters, but Pumpkinhead has replaced the Cowardly Lion. Someone forgot to give him a microphone under that oversized head because we can barely hear him. It hardy matters, because he seems to be struggling with his lines. His fellow cast members, who frequently talk to themselves, are no help, mumbling their cues as they move lethargically, seemingly having overdosed on tranquilizers.

Wonderful Land Of Oz (1969, Barry Mahon)

Tip (Channy Mahon, Barry’s rugrat) replaces Dorothy. Tip is loaded with dull angst over his evil stepmother, the Wicked Witch Mombi ( played by someone named Ziska). She makes the boy go to bed on time, and when he attempts to rebel against such parental sadism, she vows to turn him into a statue. Comatose slapstick and phlegmatic sing-a-longs are visually accompanied by a cardboard fence (which we keep expecting to fall over) and half a gallon of straw on the soundstage floor to represent a stable. Tip flees with the aid of Pumpkinhead, who is brought to sort-of life via magic powder. The two run afoul of an obnoxious high school band (is there any other kind?) headed by teenaged brat General Jinjur. Tip and Pumpkinhead manage to make it to Emerald City (it’s a short walk around the garage), but rather than encountering a wizard behind the curtain, Tip gets magically transformed into a girl (he doesn’t put up much of protest) by Glinda, who confirms what we have always known: she is more Dolores Umbridge (the real villain of Harry Potter) than goodwitch (although she is called a fairy here). That sickening, bloated pink dress and K-Mart tiara fools no one. After that suburban porn reject Glinda forces a sex change on poor Tip, she does an exit stage left, cruelly depriving us yet again of the chance to see her die a horrible death.

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THE ACID EATERS (1968) RIP Buck Kartalian (1922-2016)

The Acid Eaters (Byron Mabe, 1968)

Plot-spoiler police beware!

The Acid Eaters (1968)…

Tick Tock, Tick Tock, Tick Tock…

up the pyramid of white blotter.

The Acid Eaters (Byron Mabe, 1968)

Tick Tock, Tick Tock, Tick Tock goes the white clock and…

The Acid Eaters (Byron Mabe, 1968)

a man climbs down a tree and then climbs up another tree.

Tick Tock… telephone operators at work, Tick Tock…man stamps checks, Tick Tock… man paints pictures, Tick Tock…man pours booze for shaking, hungry awaiting hands, Tick Tock…

Whistle blows… man eats sandwich with mouth open, Whistle blows…toilet flushes…woman eats McFries with mouth open, toilet flushes, 60s chicks do … well, something, toilet flushes…Whistle blows…  TickTockTickTockTickTockTickTockTickTockTickTockTickTockTickTockTickTockTickTockTockTickTockTickTockTickTockTickTock

Lather, rinse, repeat.

The Acid Eaters (Byron Mabe, 1968)

Peopledowalk. Carsdodrive. Therebeawhitepyramidofacid…People dowalk. Carsdodrive…Therebeawhitepyramidofacid…People dowalk. Carsdodrive… boomchickaboom, boomchickaboom,boomchickaboomboomchickaboomboomchickaboomboomchickaboomboomchicksintightminiskirtshuggingbuttsboomchickaboomguysintightjeanshuggingbuttsboomchickaboomboomchickaboom…wahwahwah…rusty trumpet….wahwahwah…dudes and chicks on harleys…adoo ado dodo… sniffle, sniffle…awah…dowah…do d…d…rahdowah…acid eaters skinny dip…

The Acid Eaters (Byron Mabe, 1968)

“Mumblemumble…I’m ready for another crash drive.”

“Take a deep breath Ally baby, I got 4 packets full!!!”

“You ready to fly?”

“Let’s crash drive once more.”

“SAVE IT FOR LATER SAILOR.”

Splishsplashboobsa’flashin’.

The Acid Eaters (1968) Pat Barrington

“Have I got the colors ! I’ll make a masterpiece. What’s your pleasure, treasure?”

“reD, RedHot.”

W…wwwwwwahwwwwah

runredpaintdownflabbyside… Wwwwwahhh. Gasp.

Chinkachongtototototototwahboomsplashsplishsplashtakinabathwahwahawahahramatamtam…

The Acid Eaters (Byron Mabe, 1968)

Plane flies.

GO LSD. See your travel agent.

splishsplash.

Primary colors. Smokin’ ceegarettes  before da Lawd invents boob jobs.

Vince Guaraldi’s white blotter pyramid.

Theblondebabedoeshaveboobs. Yellowstripe. Bluecircle. Greenstripe. Redsomething.

VinceGuaraldi’swhiteblotterpyramid.

splishsplashvinceguaraldiswhiteplotterbyramid.

crepepaper streamers and a red balloon.

“High Five!”

boomchickaboomwahwahwah….duhduhratatattat…splishsplash…rubberneckin’

WAAAAAAAAAAAAHHHHHH. Paintswirl.

dodododododododododododo.

nekkedrubberneckin…

“That little beotch. I’ll chop it off.”

Hahaha.

Wahwahwahawahwah.

The Big O face.

Smacksmacktoplesscatfightwithstick.

Runrunrun. Clapclapclap

Blankstare

toplesscatfightsgalore

blankstareblankstareblankstareblankstare

toplesschikinquicksand

He’sgotbiggerboobsthanshedoes

The Acid Eaters (Byron Mabe, 1968)

“Man, I really never saw quicksand before.”

“Good bye girl,” says the man with big boobs. “I guess I’ll paint you dead.”

The Acid Eaters (Byron Mabe, 1968)

“I’ll see you all downstairs. Soon , I hope,” says girl sinking in quicksand, before flipping the bird.

“Sorry I hit you so hard, Smiley.”

“That’s okay, chicky.”

It’scalledRubberneckinbabyandthat’salrightbyme

Beotchslap!

Hahaha!

“Just don’t do it again.”

The Acid Eaters (Byron Mabe, 1968)

“That’s enough laughs. Let’s get on our search for the white pyramid.”

Moon Equipped.

“Let’s roll.”

Vroom, vroomvroomvroom.

 

Hmmm, white man easy to beat thinks big chief playing checkers.

“You know dang good and well, Injuns ain’t suppose to win ’round here.”

“Me no win ’em?”

“Dat’s right…no win ’em.”

topless go-go girl descends ladder.

Alululu…hand on knee….alululu.

bombombombombomisthatthebatmantheme?

The Acid Eaters (1968) Pat Barrington

boomchickaboomwahwahwahvroomvroomvroomvroomvroom

deflatedrussmeyerchicks:

“Hey honey, ya got room for some sex starved females?”

licks lips

two batman villain rejects sneak up to car

 

wimpy Marlboro man (in white shirt and tie!!!): “Hey baby, you wouldn’t happen to have a match in that breast pocket, would ya?”

KAPOW!

KABLAM!

The Acid Eaters (Byron Mabe, 1968)

Here Lies A Man Who Lost His (insert mule pic) So We Could Buy Some Grass

batmantheme

vroomvroom

topless picnic

batman villain throws tantrum

“C’mon guys. C’mon out. Didja forget bout me? First, I lose my bike, then I lose my chick in the quicksand. I’m bored.”

“Take a cold shower, Arnie.”

Hahahahahahaha

“Take a cold shower, Arnie. Who needs goils anyway? There’s more excitin’ things in life than goils. D’eres ….”

HahahahahahahaHahahahahahahaHahahahahahaha!

“D’eres… and D’eres….. ooooooohhhhhh. Wah, wah, wah.”

HahahahahahahaHahahahahahahaHahahahahahaha

Bbbbbbbbllllbbbbhhhhhh

Take a cold shower, Arnie.

wahwahwahwahboomchickaaboom a do do ado ado tum de tum

COLD SHOWER

“Well, I’ll be damned. Will ya look at that? A tree shower!”

Skip to the loo in black briefs

“La da de de,” Caruso in briefs

Calgon, take me away to a cold shower

The Acid Eaters (Byron Mabe, 1968)

“Hello ’em, white man.”

“Uh, hello ’em kemo sabe. Hey, you wouldn’t happen to have a towel, would ja?”

“Mmmhmmm. Why you take ’em cold shower?”

“Well, ya see, I’m with this buncha guys, see….and day all have goils, ‘cept me.”

“Kemo sabe goils?”

“Kemo sabe, goils! Mmmhmmm! You want ‘e m goil?”

“Ya got one?”

“How much $ you got ’em?”

“I got $27.00 and one trading stamp.”

“Goil cost $27.00 and one trading stamp.”

“Wait a minute, Chief. That’s a lotta dough for a short timer.”

“No short timer. Ya getta keep ’em.”

“Keep ’em? Hey wait a minute, You no Indian giver?”

“Me do Indian dance. Bring goil.”

It’scalledRubberneckinbabyandthat’salrightbyme

boomchickaboomvroomvroom

Arnold Schoenberg orgy on Vince Guraldi pyramid  of white blotter. Sun Ra blushes. Call the Pharoahs. Call Donald Wildmon.

boomchickaboom

Interracial mixing. They weren’t born that way! It’s a choice! Call Donald Wildmon.

Wahwahwahwahwah

LSD

boomchickaboomvroomvroom

DIRECTOR RETROSPECTIVE: KEN RUSSELL

 Ken Russell

Parts I  & 2 of a retrospective covering the theatrical feature films of  (1927-2011) originally posted at 366 Weird Movies. Russell also produced an extensive number of documentaries, television films (many of which were composer biographies), and short films, which will not be covered here.

Ken Russell

The late Ken Russell is undoubtedly one of the most ambitious and visionary filmmakers in the entirety of cinema. Excessive and flamboyant, he was often dismissed by mainstream critics. Russell was equally criticized in avant-garde circles for not having the courage of his convictions (meaning he wasn’t academically non-linear enough. There’s a reason Russell is often compared to the painter Francis Bacon, who continued painting surreal figurative works in the age of academic abstract expressionism). Admirably, Russell had no use for categorizations, but as idiosyncratic as he was, his execution did not always rise to the concepts in his work.

KEN RUSSELL French Dressing

Russell’s strengths and weakness are evident in his first theatrical feature, French Dressing (1964). It’s a British caper comedy in the vein of Richaed Lester‘s Hard Day’s Night (1964). Initially it was a box office and critical failure. Russell’s penchant for surreal imagery and sharp edits is intact, although subtle by later standards. Even when subdued, Russell’s style doesn’t work for this kind of material, rendering the film heavy handed and narratively confused. However, it was original enough to develop a cult following, the first of many for Russell.

KEN RUSSELL Billion Dollar BrainKEN RUSSELL Billion Dollar Brain

Believing French Dressing to be a misfire, Russell returned to the safety of television work for three years before reemerging with his next feature, Billion Dollar Brain (1967). It is the second sequel in the Harry Palmer series, with Michael Caine once again taking the title role. Russell proved just as ill-suited for this spy thriller trying to cash in on the James Bond fad, but Brain is also a standout in the franchise. Russell’s personal, icy stylization is in evidence throughout the film’s more fantastic sequences. Russell is most in his element with chaos, and most bogged down with restraints imposed by script and production. Despite its flaws, Billion Dollar Brain tries to play elastic with its genre, rendering it a fun mess.

KEN RUSSELL Women In Love


Women In Love
(1969) was the film that brought Ken Russell to worldwide attention (he was even nominated for Best Director). Many critics rank it as Russell’s most narratively satisfying film. Of course, Russell has D. H. Lawrence for a literary source and, despite its infamous nude wrestling scene between Oliver Reed and Alan Bates, the film is almost shockingly restrained and faithful to the spirit of Lawrence (out of necessity, Larry Kramer’s script, also nominated for an Academy Award, simplifies its literary source). Russell’s body of work, especially in television, reveals a highly erudite filmmaker who consistently approached literary themes and subjects with contextual fidelity, as opposed to surface literalism, which eventually branded him an irreverent enfant terrible.

KEN RUSSELL Women In Love

Russell had a superb cast in Bates, Reed, Glenda Jackson (who won an Academy Award for her performance), and Jenny Linden. Billy Williams’ camerawork (yet another Oscar nominee) is lyrical, stark, and very much indicative of Russell to come.

KEN RUSSELL The Music Lovers

After the box office and critical success of Women in Love, Russell plunged quickly into his first theatrical film with a composer as its subject. The Music Lovers (1970) focuses on Peter Tchaikovsky (Richard Chamberlain). With expressionistic sets, psychedelic lensing, elongated fantasy sequences (clearly inspired by : Kenneth Anger and Fantasia), along with a spiritually irreverent, high-pitched tone, this is Russell as we came to know him. Forsaking the typical program bio of the Nutcracker composer, Russell is not at all interested in pedestrian ideas of a “biopic.” Frank about its subject’s banality (he ejaculates while imagining the cannons of his god awful “1812 Overture” aimed at his enemies) and homosexuality, many critics, Roger Ebert included, labeled the film libelous. Chamberlain, who years later came out of the closet, in a far more accepting period, expertly slips into the title role. As Nina, the composer’s sexually frustrated wife, Glenda Jackson again excels in her second collaboration with Russell (she also spends much of the film in full frontal nudity, which, of course, inspired a few exploding heads in the “classical music” scene).

KEN RUSSELL The Music Lovers

In all fairness to Russell, Tchaikovsky was tormented by his sexuality (in a undoubtedly hostile era). His death, publicly attributed to cholera, was probably a suicide, and he admitted a self-loathing for producing such commissioned works as the “Nutcracker” and “1812.” Indeed, Tchaikovsky’s best work is his lesser-known, personal compositions. Andre Previn conducts the London Symphony Orchestra with his usual craftsmanship. The film, like its subject, is aptly heart-on-sleeve.

Ken Russell The Devils

The Devils (1971) is considered by many cult film fans to be Russell’s masterpiece, and it is almost unfathomable that it would be denied a 366 List entry. Russell, a convert to Catholicism, was aware of that religion’s inherent surrealism. Attracted to the aesthetics of Catholicism, as opposed to its dogma (I can relate), Russell locates the pulse of European excesses. For the traditionalist minded, The Devils is unadulterated blasphemy.

Ken Russell The Devils
Loosely based on Aldous Huxley’s “The Devils of Loudun,”The Devils is the quintessential example of Russell excess (don’t dare look for a discernible plot)With opulent set designs by  (a frequent Russell collaborator), masturbating nuns, sadomasochistic demonic possessions, tormented priests of the Inquisition, and X-rated sexual fantasies, Russell is intentionally provocativesparing no demographic from potential offense (including Roger Ebert, an atheist and former Catholic). Oliver Reed gives the performance of his life as a sacred erection, in duet with a bewitching Vanessa Redgrave.

Ken Russell The Devils

Chicago Reader critic David Kehr found humor in The Devils and amusingly described it as a “David Lean remake of Pink Flamingos.” That’s about apt a summary as one can manage. More than forty years after its release, The Devils is no less subversive today, and has had spotty distribution in home video.

Ken Russell the Boy Friend

Russell followed The Devils with his only movie to receive a “G” rating. Starring Twiggy and adorned in an MGM color palette, The Boy Friend (1971) is an oddity in the Russell cannon. Based on Sandy Wilson’s 1954 play, Russell, with his charismatic lead, transforms it into a musical with an almost Wagnerian undercurrent (as if Busby Berkeley, clearly channeled here, isn’t demented enough). Twiggy’s charm serves as a counterbalance to Russell’s wandering camera. Christopher Gable co-stars (and will work with Russell again in 1989’s The Rainbow). Unfortunately, The Boyfriend was a box office flop, which prompted MGM to refuse Russell financial backing for his next film.

Ken Russell Savage Messiah

Taking out a second mortgage on his home, Russell financed Savage Messiah (1972) himself, which again finds the director examining artistic genius, here in the persona of French sculptor Henri Gaudier (Scott Antony). With Russell’s lifelong, obsessive passion for his subject, Savage Messiah is an authentic labor of love. Derek Jarman again serves as Russell’s art director, endowing Savage Messiah with Russell’s over-the top-visual sensibility (including an amorous Helen Mirren in a pop-colored cabaret). It is also an emotionally rich film focusing on the romance between Gaudier and Sophie Brzeska (Dorothy Tutin), which makes it all the more disappointing that MGM failed to promote it in distribution. Savage Messiah is, paradoxically, one of Russell’s most accomplished and least known works.

Ken Russell Mahler

Mahler (1974) is another highly personal film for Russell, which I previously wrote about here.

Ken Russell TOMMY

Starring The Who, Ann-Margaret, Oliver Reed, Elton John (as the Pinball Wizard), Eric Clapton, Jack Nicholson, Tina Turner (as the Acid Queen), and Robert Powell, Tommy (1975) is undoubtedly Russell’s most famous film. Based on the Who’s 1969 rock opera,  many critics accused Russell of preferring spectacle to substance. Others felt Russell’s film was a too literal approach. Tommy divided both fans and critics alike, and still does. The flaws are more the Who’s than Russell’s. With his operatic tenets and sense to enough to know that good taste is often at enmity with good art, Russell makes Tommy a powerful, one-of-a-kind experience, with each act topping its predecessor, building to an aptly histrionic crescendo. Disorienting, sensual, and filled to the brim with salted pain, Tommy is that rarity of rarities: an artistically authentic opera and musical experience.

Ken Russell TOMMY

Reed, unleashed again, proves an ideal collaborator, and Ann-Margaret deservedly earned a Best Actress nomination for her performance as Tommy’s mother. Unfortunately, Roger Daltry is no actor, and his performance undeniably hinders the film.

Tommy is already a deserving List Candidate and hopefully will be canonized sometime in the future.

Ken Russell Lisztomania

Lisztomania (1975) is Russell’s idiosyncratic take on composer Franz Liszt. It is also an official List entry, found here.

Ken Russell Valentino

Under-directed by Russell and physically miscast, ballet star Rudolf Nureyev still convinces as the titular Valentino (1977). A mix of alarming self-control and unfettered hyperbole, this uneven film disappointed Russell fans who wanted something more experimental in the vein of Mahler and Lisztomania. It also disappointed cinema history buffs and Valentino fans who wanted (but should not have expected) something more orthodox.

Ken Russell ValentinoKen Russell Valentino

Despite flaws, Valentino is a beautiful film and accessible, if not constrained by historicity. Russell treats this subject no differently than others, including religion, as a mix of fantasy, facts, legend, and folklore.

Ken Russell Valentino

Valentino was Russell’s biggest budgeted film to date and was a resounding flop at the American box office (it did considerably better overseas). It has since developed a cult following and recently has been released on Blu-ray, although the transfer has received mixed reviews.

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