BLACK WIDOW: EQUAL TO THE MALE

 

 

The superhero/comic book based world of film is dominated by men. Comics were that way as well for decades. And then things changed, slowly. Wonder Woman became as important as Batman or Superman at DC. And in the Marvel Universe one woman stood out above the rest. That was Natasha Romanov, otherwise known as Black Widow. So when it came time to make movies based on Marvel comics it was a natural to include her. 

Scarlett Johansson first appeared as the character in IRON MAN 2 in 2010. After a participating in more films including 2012’s THE AVENGERS, people thought they had seen the last of her with AVENGERS: ENDGAME. *spoiler alert* In that film she died in order to save the Universe. But comic book deaths are rarely permanent. Instead she was given the lead role in 2021’s BLACK WIDOW, a prequel of sorts to show us where Romanov came from. 

The film opens in 1995 in a small town in Ohio. There two Russian sleeper agents, Alexi Shostakov (David Harbour) and Melina Vostokoff (Rachel Weisz), are rushed to escape after having stolen S.H.I.E.L.D. documents. Coming with them are the two small girls they were raising as their own for cover, two orphan girls named Natasha Romanov and Yelena Belova. When they arrive in Cuba the girls are taken from them by Gen. Dreykov (Ray Winstone) and sent the Red Room for training to become the super spies of Russia. 

Years pass. Shostakov, who was Russia’s superhero the Red Guardian, has been imprisoned. Romanov has defected to S.H.I.E.L.D. after blowing up Dreykov’s office, killing his daughter Antonia in the process. Taking place after the CAPTAIN AMERICA: CIVIL WAR film, the Sekovia Accords are now taking place requiring all superheroes to register. Romanov was against the accords and as such is now a wanted fugitive. 

Meanwhile Belova (Florence Pugh) has been trained as an agent too. On her most recent mission she is does with a compound that makes the Red Room’s mind controlling gas neutralized. Able to think for herself for the first time in decades, she sends the vials of the antidote to Romanov in the hopes that she and the Avengers can locate the other Black Widow operatives and save them. 

The chances of that happening are ruined with Russia’s newest super menace, Taskmaster, attacks Romanov trying to recover the vials. Romanov barely makes it out alive but using the clues she has from the container they were in she tracks down Belova to Budapest. Before the reunion between the two foster sisters can fully take place they are attacked by Taskmaster and the other Black Widows. They escape and plan on looking for the only person they think can help them: Shostakov. 

The only problem, if you recall, is that he’s in prison. This leads to a prison break and his escape from the facility. Together again he’s joyous but the girls are not quite so. They go looking for the original Black Widow, Vostokoff and find her just before this location too is under attack. All four are captured and the man behind it all as well as the identity of the Taskmaster is revealed. The next question is can Romanov stop this madman before he unleashes his wrath upon the world. 

The movie offers the best of what the Marvel Universe superhero films has to offer. Fast paced action, plenty of depth to the story, amazing effects and believable acting from all involved. This time though rather than go the typical route the film has more of a spy feel to it, a female James Bond perhaps. Between fighting skills and plenty of gadgets it sure feels that way. 

Johansson has made this role her own over the course of these films. Here she is given enough leeway to make the film about her finally. She’s up to the challenge and makes everything Natasha Romanov do worthwhile. Harbour is over the top and gleefully so. Weisz is cool and that’s what her character calls for. Pugh who is new to the Marvel Universe makes her character to interesting that you wonder if a sequel about her is in order. And Winstone is at his best as a beleaguered father who has the means and ways to set about a major case of revenge with tools best left to governments. 

The movie is plenty of fun and a welcome addition to the set of films involving the Marvel Universe. Most everyone will have a good time with this and those collecting the entire set will most likely pick this one up the day it is released. I know I plan on keeping this one on hand for a re-watch, it’s that good.

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BLIND BEAST: ALL FOR ART

 

One thing that can be said for movies made in Japan, they are never boring. Strange, unusual, but never boring. Having these films made available for home viewing and allowing overseas films to be viewed in some cases for the first time means being exposed to the differences in culture. BLIND BEAST is a perfect example. 

Made in 1969, the story begins with Aki (Mako Midori), a beautiful young model who is the inspiration for a photographer and sculpture whose images are on display in a local art gallery. Stopping in one night she sees a blind patron there running his hands over the sculpture, “seeing” it with his hands. 

Not long after having had a stressful week she calls her masseuse to come to her place for a massage. Unable to be there someone else takes his place. It turns out it’s the same blind man she saw in the gallery, Michio (Eiji Funakoshi). At first the massage is normal but as things progress she feels uncomfortable. As she is about to send him away, he places a rag over her mouth filled with ether and she’s knocked unconscious. 

When Aki awakes she finds herself in a huge dark room. Michio has kidnapped her and explains to her from the darkness that her body is the perfect model for the sculpture he intends to create. Switching on one light at a time he allows her to see his work to date. Each wall is covered with different body parts beginning with eyes, moving to noses, breasts, legs and arms. These were the foundation of his art. She will be his masterpiece. 

Aki has a different perspective. She wants nothing more than her freedom. Kept prisoner by Michio and his mother (Noriko Sengoku), a woman who has sacrificed her entire life for her son and his art, Aki plots various ways to escape. The straightforward way doesn’t work so she makes Michio believe she wants to be his inspiration. Even then she tries to escape. 

As the movie progresses she gradually changes her mind. She begins to understand the artists and the art he is attempting to create, an art that stems not just from sight but from all senses. She begins to actually fall in love with Michio and it isn’t long before the sculpting falls behind while their sexual escapades increase. This experience of the senses plays into that and the two go on until exhausted only to wake and begin again. What will happen is anyone’s guess. 

Made on a modest budget and not relying on a ton of nudity, explicit sex of gore scenes, the movie is actually quite beautiful in its own way. Michio’s warehouse filled with walls of various body parts is unusual and fascinating at the same time. Sequences of Michio and Aki running through the room among the various sculptures of body parts is disturbing and interesting at the same time. 

While much is lost in translation when viewing a movie in a different language, the acting here is still solid enough that you can feel the emptions even when not relating to the words being said. Both Midori and Funakoshi make their characters believable even in this strange environment. 

The film is one that will hold your interest until the very strange ending and in some ways is quite entertaining. Just know going in that this is not your typical movie. 

Arrow Video is releasing the film in blu-ray format. The release also includes several nice extras including a brand new audio commentary by Asian cinema scholar Earl Jackson, a newly filmed introduction by Japanese cinema expert Tony Rayns, “Blind Beast: Masumura the Supersensualist” a brand new visual essay by Japanese literature and visual studies scholar Seth Jacobowitz, the original Trailer, an image gallery, a reversible sleeve featuring original and newly commissioned artwork by Tony Stella and for the first pressing only an illustrated booklet featuring new writing by Virginie Sélavy.

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THE DAIMAJIN TRILOGY: STONE COLD DEITY

 

 

I wasn’t aware of the Daimajin films when this set was first announced. I do enjoy many films from Japan though and was intrigued when I read about it. Digging up information on it I found that the series wasn’t long, especially when you realize that Godzilla is still going strong, but it was popular when released and did decent business. It must have when you realize that there are three films included here.

To understand what takes place in all three films you must first know who the Daimajin is. Daimajin is a giant stone god, one that looks like nothing more than a statue. Dressed as a samurai warrior with a passive face, he looks like nothing more than a giant carved icon. But when roused from his slumbers his face changes into a hideous mask with peering eyes as he sets out on a path of destruction for those who dare disrespect him. 

Distributed by Daiei Films, the first movie in the set is DAIMAJIN. Taking place in the distant past of Japan when samurais still held sway it tells the story of a small village where they worship an ancient with reverence known as Daimajin. This stone god was trapped in the mountain and the people of the village pay tribute to it all year round. A coupe against the ruler of this area finds the new ruler unafraid of superstitious nonsense and he kills the royal family with the exception of the ruler’s two small children. They grow up to their late teens raised by the mother of a trusted samurai who protected their father. When they turn 18 they eventually attempt to reclaim their title but the young man is captured. His sister and the priestess who raised them plead for mercy but the new ruler is unwavering and kills the old woman who places a curse on him. The wrath of the Daimajin is roused and he comes back to deliver justices to those who revered him. 

The second films is RETURN OF DAIMAJIN. This time around we find an island in the middle of a lake where two peaceful villages reside nearby, Chigusa and Nagoshi. All is well until the ruler of a third village decides to take over and rule all three villages. Attacking during a festival the people of both villages are pursued to the island. The ruler orders his men to demolish the statue of the Daimajin with explosives which they do. But an angry god is not about to be stopped by something like this and he rises from the watery depths to wreak his wrath on this unbeliever.

The third and final film is DAIMAJIN STRIKES AGAIN. In this tale a small village is doing their best to survive. But their best craftsmen and workers have been captured by and evil lord and are now working for him constructing a temple and wall to honor him. When their village is made aware, four children of various workers set off to rescue their fathers. The easiest path to reach them is through an area designated for the Daimajin. Passing through the four young children pay their respects and beg forgiveness for using this path. The evil lord’s men are not so kind of respectful. Neither is the evil lord who ridicules the worship of this deity. Big mistake as the Daimajin rises to once more show why respect is due. 

While the movements of the giant stone creature are slow, like most giant creatures from these Japanese films, it does offer a benevolent defender who is still frightening to look at. The stories are all morality tales that revolve around evil tyrants being bested when their hubris grows too large. Each time they think of themselves as godlike a true god comes in to show them how far off they are. These stories of oppression reversed on those who treat others wrongly are a decent story to tell. 

Made in 1966 the special effects seen here are not the CGI that movie fans of today would expect. And yet the effects here work perfectly for the stories being told and the character of Daimajin. Nothing more than a hand passing in front of his face changes his appearance from stone god to vengeful samurai. 

Each of the films is well done and stands on its own. The third film tends to lean more towards younger viewers with our heroes being 4 children. But all three are entertaining and worth watching. 

Arrow has once more brought to the world a classic that would have been missed and have included plenty of extras. To begin with the films are all presented on high definition Blu-ray for the first time ever. Extras include an illustrated 100 page book featuring new essays by Jonathan Clements, Keith Aiken, Ed Godziszewski, Raffael Coronelli, Erik Homenick, Robin Gatto and Kevin Derendorf, postcards featuring the original Japanese artwork for all three films and reversible sleeves featuring original and newly commissioned artwork by Matt Frank. For DAIMAJIN there is a new audio commentary by Japanese film expert Stuart Galbraith IV, a newly filmed introduction by critic Kim Newman, “Bringing the Avenging God to Life” a new video essay about the special effects of the films by film historian Ed Godziszewski, alternate opening credits for the US release as MAJIN: THE MONSTER OF TERROR, trailers for the original and US release and an image gallery. On RETURN OF DAIMAKIN there is a new audio commentary track by Japanese film experts Tom Mes and Jasper Sharp, “My Summer Holidays with Daimajin” a new filmed interview with Professor Yoneo Ota (director of the Toy Film Museum, Kyoto Film Art Culture Research Institute) about the production of the Daimajin films at Daiei Kyoto, “From Storyboard to Screen: Bringing Return of Daimajin to Life” a comparison of several key scenes in Return of Daimajin with the original storyboards, alternate opening credits for the US release as Return of the Giant Majin, trailers of the original Japanese and US releases and an image gallery. On WRATH OF DAIMAJIN there is a new audio commentary by Asian historian Jonathan Clements, an interview with cinematographer Fujio Morita discussing his career at Daiei and his work on the three films, trailers for the original Japanese release and an image gallery. 

As is apparent Arrow Video went all out. Bravo to them for doing so. And for those who enjoy giant creatures, Japanese cinema, foreign films or just having a good old time then pick this one up.

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A DISCOVERY OF WITCHES SEASON 2: BACK IN TIME

 

 

If you saw the first season of A DISCOVERY OF WITCHES on AMC or BBC AMERICA you probably weren’t sure at first what you were getting into. The story combines witches and vampires and demons in an underworld that human’s aren’t aware of. But they weren’t the same stereotypes of these characters we’ve heard about in the past.

The story revolved around two main characters. Diana Bishop (Teresa Palmer) was a witch who forsook her powers and is now a historian at Yale University doing research at Oxford University in England. While doing her research on alchemy, a magical volume appears to her that has long been sought and disappears again from the famed Bodleian Library after she sees it. Because of this she meets Matthew Clairmont (Matthew Goode), a vampire and Professor of Biochemistry. In spite of the fact that witches and vampires are supposed to be complete foes the pair join forces in their search for the book. In the book is supposed to be the secret of life for all three species. In the wrong hands it could mean on destroying the other two. 

As the series progressed we met various other characters as well and learned how they survived in the world today. We learn of the Congregation, a ruling organization of all three species that keep things in check. Behind much of the pursuit for the book is Peter Knox (Owen Teale), a powerful witch looking to end the vampires and demons. Just as deadly is Gerbert d’Aurillac (Trevor Eve), a conniving vampire who has long sought to rule over all vampires. Season one found the young couple falling in love and realizing that Diana would have to finally learn the magic she had avoided all these years. With no one in the present to tutor her they escaped to the past. 

Which is where season 2 picks up. Hiding from the foes they have in the future, Diana and Matthew return to London in 1590, a location Matthew is well acquainted with. Arriving not quite where and when they intended they take shelter at the home of Christopher “Kit” Marlowe (Tom Hughes), the famous poet and friend of Matthew. Kit doesn’t trust Diana though and he notices a difference in Matthew. The reason for this is that this Matthew is from the future and not this time period. But he sees it as him being bewitched by Diana. 

Diana soon learns that in this time period Matthew was a spy for the crown. This in turn brings in more historical figures from Sir Walter Raleigh (Michael Lindall) to Queen Elizabeth (Barbara Marten). But her reason for being here is to find a witch who is willing to teach her witchcraft. Her coming was predicted to an elderly witch named Goody Alsop (Sheila Hancock). Diana eventually wins her trust and her teachings begin. 

As all of this is taking place in the past more maneuverings are happening in the present. A vampire has fallen victim to blood rage, attacking and killing humans. Thought wiped out in the past this puts the three sets of creatures in a state of panic as they try to find out where this killer is. But there are more political plotlines running through the Congregation as the struggle for control runs beneath the surface. 

The series could easily be compared to the TWILIGHT films in that we are presented legendary creatures with a modern day twist coupled with a story of forbidden love. It would be a mistake to do so. For one, the depth of story here is much more pronounced with threads that run through numerous characters and not focusing on just the one. Because of that if you tire of one story keep watching as another will soon rise. This is largely due to the fact that the series is based on the novels of Deborah Harkness. 

The acting, the directing, the sets, the costumes are all extremely well done and befitting a major studio film release. To find that much involved in a series on TV is a credit to those working on this series. And by the end of this season as several storylines are tied up and new ones put in place, you find yourself wishing that the next season was in the can and ready to roll. Sadly word is it won’t appear until 2022. Until then you can catch both the first and second seasons on disc and if you’re not rediscovering it you’ll be finding it the first time and enjoying it in preparation for that follow up. 

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SKULLDUGGERY: UNINTENTIONAL FUN

 

 

Before Burt Reynolds became a household name and an international icon he was working as an actor under contract for Universal Studios. He was just beginning to make a name for himself when he ended up in a movie called SKULLDUGGERY. I can remember seeing the ads in the newspaper for the film. We were two years past PLANET OF THE APES and the creatures in this one looked similar. Of course I was hyped to see the movie. Unfortunately it didn’t happen. Which is why I was excited to see that Kino Lorber saved the film from obscurity.

Before jumping into a description of what the film is about let me preface by saying it is about any and all things. This movie jumps from one concept to another with alarming speed. The end result is a movie that’s a bit whacky, a bit unusual and a load of fun. Okay moving forward. 

Reynolds stars as Doug Temple, a down on his luck adventurer in Papua New Guinea. Along with his cohort Otto Kreps (Roger C. Carmel) he finds an opportunity to make a potential fortune. An anthropological group headed by Dr. Sybil Greame (Susan Clark) is making their way into the jungle. In this same area is a load of phosphorous that Kreps knows can make them rich if they get the land rights first. The duo worm their way into the expedition and off they go. 

Eventually arriving in the area they both find what they were looking for but come across something else as well. Living in the area are small half man/half ape creatures they name the Tropi. The creatures are the missing link that man has sought for years. Docile and friendly it isn’t long before they are welcomed to the group and each one is named. 

This is where the first hard right takes place. Seeing them as a form of cheap labor Doug has the Tropi go to work for him harvesting the minerals he needs to make his fortune. He isn’t bad to them but he pays them in canned ham. But this isn’t the major abuse the Tropi suffer. The backer for the expedition was a man named Vancruysen (Paul Hubschmid), Greame’s fiancé. A wealthy entrepreneur he too sees the Tropi as cheap labor. But he doesn’t view them as people but more as cattle. So much so that he also sees them as a food source as well. 

The human being inside Doug doesn’t take kindly to this concept. Neither does Kreps who has become fond of one of the Tropi. So now the film takes a hard left. We find out that Kreps may have impregnated the Tropi he’s become close to. If they can successfully breed with a human then this proves they are indeed the missing link and more human than animal. 

Now a hard right and a SPOILER ALERT. The baby is born and dies and Doug claims that he killed the baby. Now the movie becomes a courtroom drama where the legal ramifications are considered. Are the Tropi human or not? Toss in claims of racism against the Tropi, a Black Panther type group that shows up and you have one heck of a mixed up movie. 

Directed by Gordon Douglas whose career dated back to the 30s and who was known for films like THE GREAT GILDERSLEEVE, THEM!, UP PERISCOPE, YELLOWSTONE KELLY, IN LIKE FLINT, TONY ROME and more I’m sure the actors thought they were going into a potential hit. The fact is that Douglas no doubt elevated this movie from a low budget B flick to a major studio release. But the studio had no clue how to market the movie. That’s easy to understand after watching and not being sure what kind of movie it intended to be. 

Everyone involved gives the movie their best efforts though and it shows. The acting on display from everyone here is flawless and that includes the actors in makeup as the Tropi. Reynolds is his usual cocky wise cracker when need be and serious savior later in the film. Clark never gave a bad performance. Carmel had a way of making a strange character loveable and he does so here. 

The end result is a movie that will have you entertained and laughing even if that wasn’t the original intent. Thank goodness Kino Lorber saved this one. They’re presenting the film in a brand new 2k master and extras include an audio commentary track by film historians Howard S. Berger, C. Courtney Joyner and Sergio Mims and a collection of theatrical trailers. If you’re looking for something different and something fun then give this one a watch. 

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PUZZLE: WHO AM I?

 

The giallo film was a mainstay of Italian cinema for years. A combination of Hitchcockian mystery combined with the blood spattered murder sequences in horror films, the genre created careers for many, most famously Dario Argento. But almost all of the Italian directors of the 60s and 70s made an attempt at the genre.

PUZZLE is directed by Duccio Tessari. Tessari worked on numerous Italian films in large and small roles behind the scenes. As a writer he worked on numerous Hercules movies, had an uncredited role in A FISTFUL OF DOLLARS and more. As a director he made THE BLOODSTAINED BUTTERFLY, THE FIFTH COMMANDMENT and several Ringo westerns which he also wrote. PUZZLE gave him a chance to play again in the giallo genre. 

The story opens with a man waking in London suffering from amnesia after a car accident. He believes his name is Peter (Luc Merenda) but after an attempt on his life and a strange series of events he discovers his real name is Ted and he has a wife named Sara (Senta Berger). Sara is waiting for him in the Italian resort town of Portofino and Ted heads there to meet her. 

Glimpses of his past life keep popping up in Ted’s mind, a murder involving a man’s throat being cut. But was it Ted who committed this murder or was he simply witness to it? Ted is almost certain that he was a bad guy in his past life but Sara stands by him as they follow any and all clues into his past life. 

As they attempt to sift through the pieces of the puzzle that was Ted’s life, a strange figure follows him around. He eventually tells him that they were part of a heist and he expects to get his share of the money. The problem is Ted has no clue where it is or what happened but the stranger doesn’t believe him. 

In addition to this stranger there is someone else following Ted and Sara, someone with a more sinister intent. Just who this person is and what he will do to either of the couple adds to the suspense of the film. Will Ted recover his identity? And just who was he anyway? 

The movie offers a straightforward narrative that gives us the story through the eyes of both main characters. There is Ted trying to remember what he can’t and Sara, the new bride trying to discover just who it was she married. As they move forward they trust one another in a world where no one can be trusted. 

The movie offers solid entertainment and has performances that are standard but not outstanding. But the story itself doesn’t demand the greatest acting and that’s what the movie is all about. If you’ve never been exposed to the giallo genre this wouldn’t be a bad place to start. It’s an entertaining thriller that will keep you guessing until the end.  

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MIDNIGHT: MAMA SAYS...

 

 

Back in 1968 a small, low budget film made in Pittsburgh was released that became one of the most famous movies of all time. That film was NIGHT OF THE LIVING DEAD. And while director George Romero would go on to make some hugely successful movies, his co-writer John Russo would also carry on with the horror film tradition. Russo was the main drive behind the script for NOTLD and he would go on to write several horror novels he would then turn into film. Among those was MIDNIGHT.

The film opens with a sequence from the past. A woman screams for help but is caught in a bear trap. A trio of children find her and take her to their home. It turns out she had escaped from them. She is to be a sacrifice in their mother’s satanic ritual and we last see her stabbed by the young daughter. 

Flash forward years later. Troubled teen Nancy Johnson (Melanie Verlin) runs away from home when her stepfather Bert (Lawrence Tierney) attempts to molest her. Hitchhiking to her sister’s in California, she’s given a ride by two young drifters Hank (Charles Jackson) and Tom (John Hall). Along the way they pick up another pair of hitchhikers, a preacher and his daughter on their way home. After dropping them off the pair become the first victims of the films murderer. 

Stopping in a store they encounter a racist owner who refuses to sell anything to the group since the Hank is black. The trio steal the groceries they intended to buy and head out, pursued by the police. They ditch them and drive off into the countryside to camp out and spend the night. 

Unfortunately the next morning as Nancy takes a walk, Tom and Hank are roused by two policemen. Taunted by the two of them Hank runs and is shot in the back and killed. They then kill Tom as well after revealing they aren’t police at all but have killed the officers chasing the trio yesterday and taking their clothes. Nancy tries to run away but the duo hear her and track her down, taking her to their secluded home and locking her in a dog cage. It turns out these are the now grown children we saw at the beginning of the film and we know what’s in store for Nancy. 

As all of this is taking place Nancy’s mother is concerned about what happened to her. Bert, who is a police officer, tells her not to worry and that she’ll come home. At the same time he feels guilty about what he did when drunk and sets out to find Nancy. But will he do so in time? 

Made for only $200,000 the film wasn’t a huge success financially and critics were not please with it. Tom Savini did the special effects for the film. I remember seeing the film when it was first released and not being all that impressed. Watching it now I realize I was wrong. The film may have a few minor plot holes but what movie doesn’t? 

One critic noted that this film lacked a sense of humor. I would take him to task on that line. The addition of humor to horror films is not a necessity and at times is a hindrance to horror. We’ve become a group of viewers that laugh at Freddy Kreuger ignoring the fact that he was a child molester. The horror in this film comes not from a contrived notion but in reality. One can believe that there are people out there willing to have human sacrifices based on their misguided beliefs. To think they exist is to imagine the horror that invokes. 

Russo continued to make more movies apart from this one. They never received the marketing push or major studio backing that Romero’s films did. A quiet unassuming man he went on to write a definitive guide on how to make a low budget film that is still available to this day. He appears regularly at various horror conventions and is easily approachable. It’s nice to see that his work is receiving some recognition finally and that Severin has brought this title out to be seen once more. 

Severin has made the film look incredible and I actually thought it looked better than when I saw it on the big screen when it was released. This version is a new 4k scan from the negative of the long rumored uncut version. In addition to that they’ve includes several extras. Those include “Making Midnight” an interview with writer/director John Russo, “Producing Midnight” an interview with producer Samuel M. Sherman, “The Midnight Killer” an interview with actor John Amplas, “Small Favors” an interview with special make-up effects artist Tom Savini, an isolated score selected featuring an audio interview with composer Mike Mazzei, the alternate title cared for BACKWOODS MASSACRE, the original trailer and radio spot. 

As I said it’s nice to see Russo’s work get this sort of treatment. If you’ve never seen this film it’s worth watching and seeing an effective piece of horror that stems more from reality than one would expect from someone who created flesh eating zombies. It works and that’s saying something. This one is worth a spot on the shelf of any horror fan.

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GOLDEN NEEDLES: BEFORE VIAGRA…

 

 

In 1973 director Robert Clouse was given the job by Warner Brothers to direct a martial arts movie. At the time this genre of film was being imported and playing in grindhouses on the famed 42^nd Street of NYC. No one thought that this film would do much. Then again they always had a way of underestimating the star of the film. The movie was ENTER THE DRAGON and its star was Bruce Lee.

Clouse only had a few titles that he’d directed and after this one he was suddenly the go to guy for martial arts movies in the US. Among his credits are BLACK BELT JONES, FORCE FIVE, BATTLE CREEK BRAWL, GUMKATA and GAME OF DEATH, the film Lee died on during its making. But two films after his biggest hit Clouse directed a movie that should have been a hit. It had martial arts, a star who was coming off a hit movie himself and a few other name stars as well. Sadly GOLDEN NEEDLES never took off. But it’s available now from Kino Lorber.

The film opens with a narrator explaining what the needles are. Held in place in an ancient Buddha statue, the needles have the ability to sexually invigorate the person they are being inserted into if placed correctly. If done wrong, they bring about an excruciating death. The human pincushion here survives but just as he’s about to have his way with several women two bad guys break in torching the place and all within while stealing the statue and the needles.

Fast forward to the current situation where a woman named Felicity (Elizabeth Ashley) is trying to acquire the statue. As she is about to pay for it the owner raises the price on her. Sent by a mysterious backer she’ll do anything to get the statue. Talking to her representative in China he suggest they use the assistance of his partner, a man who not only knows his way around town but how to burgle as well. Enter Dan (Joe Don Baker). 

Dan is the stereotypical American in the orient. He stands above everyone around him, he’s loud and he’s always looking for a good time. He takes on the job and handles the burglary with ease. But then things get out of hand. His partner sets the statue up to be mailed to the buyer in the US but is killed by the men who had the statue. Unsure of which package had the actual statue, Dan and Felicity now return to the states to make sure the package arrived.

It turns out the buyer was an eccentric millionaire named Winters (Burgess Meredith). The statue did arrive but unfortunately it was the wrong one. Angry at this problem he gives the pair the chance to redeem themselves. They only have an allotted time to recover the statue and bring it to him or face death. 

If all of this wasn’t enough the story tosses in some Chinese police, marital arts star Jim Kelly as Baker’s friend and a number of chase and fight sequences that will keep action fans happy. Through it all Baker seems like he’s having the time of his life. Ashley gives a believable performance here although her golden days were behind her as a star. The truly odd thing is thinking of Meredith as the one trying to locate the needles. Just imagining him using them for their intended purpose can make one cringe. 

It’s easy to see that this film is no ENTER THE DRAGON. Most of the films Clouse followed that one with never were. It’s hard to replace someone like Bruce Lee. But it is and entertaining action flick that will keep fans of 70s movies happy and Baker fans pleased that they can fill out their collection of his films. 

Here again Kino Lorber is showing their willingness to give life to a movie many probably thought would never see the light of day again. They’re offering it on blu-ray with a brand new 2k transfer. In addition to that they’re including extras like a new audio commentary track by film historians Howard S. Berger and Chris Poggiali, newly commissioned art for the cover by Vince Evans, radio spots for the film, TV spots for the film and image gallery and a collection of trailers. Congratulations for Kino Lorber for stepping up on this one. 

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ELOY DE IGLESIA’S QUINQUI COLLECTION: UNEXPLORED GENRE

 

 

There is a little known genre of films that came out of Spain in the 70s and 80s called the quinqui genre or juvenile gang films. These movies portrayed a violent group of drug riddled youth that were prone to killing without feeling. The films drew in audiences but never translated well to other parts of the world. 

Among the most famous directors to associate with this genre was Eloy de Iglesia. Known for his works in various other genres, he made three films considered masterpieces of the quinqui films. Severin has gone out of their way to find these films and offer them to the viewing public in pristine condition. Any time a foreign film can find its way to the US market in such great condition should be celebrated. 

The first film in this collection of Iglesia’s films is NAVAJEROS or KNIVES. The film follows the life of José Manuel Gomez Perales also known as El Jaro (Jose Luis Manzano). Only 15 years old El Jaro has broken out of prison 39 times in his short life and is well known as becoming a career criminal. He spends his time with 3 close friends as they steal anything from coins in payphones to items in store windows. Living on the streets El Jaro ends up staying with a prostitute older than him named Mercedes (Isela Vega). The two have a romance going but El Jaro falls for his friend’s sister. But tragedy awaits all involved in the life of El Jaro. 

Next up is EL PICO. Once again starring Jose Luis Manzano this time he portrays Paco, the son of Evaristo Torrecuadrada (José Manuel Cervino), a Civil Guard commander. Paco’s best friend is Urko (Javier García), the son of Martín Aramendia (Luis Iriondo), a leftist politician who stands against the Civil Guard. The two boys spend their time with a prostitute friend named Betty (Lali Espinet) and through her become drug addicts. To help them pay for their drugs she sends them to El Cojo the dealer she gets her drugs from. Eventually they clean themselves up but one last visit to Betty and they find themselves hooked once more. Now their crimes increase to support their habit and soon it will have grave consequences for one of the two friends. 

The third film in the set is EL PICO 2, made due to the huge success of the first film. The story picks up with Paco and his father moving to Madrid with his father’s mother in hopes of finding help for Paco as well as a fresh start with his father. Paco’s past follows him though and he is arrested for things that took place in the first film (to mention these would be a huge spoiler). Once more a life of crime seems the only outlook for Paco and eventually father and son must come to a reckoning. 

For many these films will be confusing at best and terrible at worst. But like many films you have to place yourself not just in the time period but the location of the film. These films were made in Spain as it was transitioning into democracy. Juvenile crime and drug use was increasing at the time. And director Iglesia was also dealing with being a homosexual in a predominantly Catholic country where it was frowned upon. All of these things are stirred into the melting pot of his films. 

Iglesia chose to make his films about the underclass, the poor and their methods of dealing with the life that had been dealt to them. Rather than clean it up and make it pretty he showed the bad side of things as well as the side effects of choosing this lifestyle. But he did so not in an overbearing shameful method, instead doing nothing more than showing things as they were. These films were not the “after school special” style movies that showed clean cut kids falling into drug addiction and then living happy lives after cleaning up in the last 10 minutes. These films depicted a reality of addiction that showed it wasn’t easy to get clean and it led to criminal activity to pay for your next fix. It’s ugly and intentionally so. 

Severin has done a fantastic job of bringing these films to be seen once more. They’ve started with scanning all three in HD from the original negatives making them look better than ever. Placing them in this box set they’ve included a number of extras as well. These include “Jose Sacristan on Eloy de la Iglesia” an interview with actor Jose Sacristan, “Blood in the Streets: The Quinqui Film Phenomenon: An interview with quinqui historians Mery Cuesta and Tom Whittaker, “Queerness, Crime and the Basque Conflict in the Quinqui Films of Eloy de la Iglesia” a panel with scholars Alejandro Melero and Paul Julian Smith moderated by Evan Purchell of Ask Any Buddy and trailers for all three films. 

As I said early on these films may not be for everyone. But for fans of the genre, of world cinema and those willing to learn more about the rest of the world on film this is an interesting item that you will enjoy.

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CANNIBAL MAN: NOT WHAT YOU THINK

 

In spite of the title of this film it’s not about cannibalism. At least not in the sense that most films in the cannibal genre involve eating another human being. The title is actually a bit of a twist rather than flat out being about an actual cannibal.

Marcos (Vincente Parra) is a young man who works at a nearby butcher company. Not the store on the corner but a mass producer of meats for markets. His job pays him enough to get by but nothing big. Marcos is dating Paula (Emma Cohen), a girl whose father believes she is too good for Marcos. Still the young couple dates without his knowing. 

After a date on the way home to Marcos’, a home he shares with his brother, the couple begin to make out in the back seat of their cab. The driver throws a fit when he sees this and pulls over, demanding they get out in the middle of nowhere. In spite of kicking them out he demands that they pay him. A struggle ensues and Marco accidentally kills the cab driver. 

The next day the news is all about the mysterious death of the cab driver with the police having no clues who was responsible. Paula wants to go to the police but Marcos tells her that if she does so he’ll spend the rest of his life in prison. An argument follows and results in Marcos killing Paula. 

And so the movie progresses with new people stopping by and talking to Marco with each one discovering his secret. It doesn’t matter who, each one ends up being killed in what almost seems like a comedy of errors without a touch of humor. But what is Marco to do with all these bodies? 

Fortunately the owner of the company he works for has been training Marco on a new piece of machinery installed at the plant. Smaller pieces of meat are put into the machine and it grinds up everything place in it, bones and all. So Marco begins taking pieces of the bodies now piling up in his house and disposing of them this way. But even then how long can his killing spree last? 

The film was controversial enough to land on the Video Nasties list in the UK. At first glimpse you might wonder why? Certainly there are more films worthy of being added with much more gore to them. The thing is that this movie presents the killings in a more realistic manner than most. Those scenes are more disturbing than say a chainsaw or machete wielding maniac on the loose. 

Not only that the character of Marco is a sympathetic one at time in spite of what he does. We are presented with a handsome lead in the form of Parra who is a bit simple minded with no clue about how the world around him works. At first he seems like a decent man that we wouldn’t mind being neighbors with. And then with one act of violence we begin to witness a slow descent into madness. 

Here again Severin has released the film, directed by Eloy de la Iglesia, featuring both the International and extended Spanish version of the film, newly scanned from the original negatives for the first time ever. This release also has extras that include “Cinema at the Margins: Stephen Thrower and Dr. Shelagh Rowan-Legg on Eloy de la Iglesia”, “The Sleazy and the Strange” and interview with Carlos Aguilar, deleted scenes from the film, the trailer and reversible artwork for the box. 

Once more fans of Spanish cinema, de la Iglesia or foreign films will want to add this to their collections. It’s an interesting film that will hold your attention from start to finish.

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