Although England’s Hammer Studio made a variety of films, the trio of Horror of Dracula, Curse of Frankenstein, and The Mummy solidified the direction of the studio and its identity with the public for the remainder of its life. And not without good reason. In their heyday, and even long after the studio had fallen into disrepair, Hammer showed a panache for producing lavish looking Gothic horror that was simply unmatchable. America’s AIP came close with Roger Corman’s Edgar Allen Poe inspired cycle of films starring Vincent Price, but no one could approach Hammer’s consistency and longevity in producing world-class horror. Starting in 1958 and continuing throughout the 60s, and into the studio’s final days in the first half of the 1970s, Hammer produced an unbelievable string of incredible horror films — almost every one of them a hit — buoyed by the one-two punch of venerated horror film icon Christopher Lee’s Dracula films and Peter Cushing’s Frankenstein series.
Among the many things that puzzle me in life is the question of why there aren’t more horror films set amidst military conflicts and wars. Not that aren’t any, but there aren’t nearly as many as one might think, giving how easily wartime settings should lend themselves as backdrops to horror films, to say nothing of the fact that it was the landscape of World War I that informed the art and set design on many of the old Universal and German horror classics. That conflict in particular, with one foot in the horror of modern warfare and the other in…well, the horror of 19th century warfare, seems particularly well suited for horror films. The strange combination of Industrial Revolution weapons and vehicles with ornate imperial uniforms, peasants, kingdoms, horse-drawn artillery, and of course, No Man’s Land, trench warfare, bombed out old European buildings and castles — horror films set amongst this carnage seem to practically write themselves, and yet wartime horror films are all but non-existent.
Certainly, some exist, and perhaps I’m the only one who look sat the battlefields of past wars and sees potential for horror-themed entertainment. Chalk it up to my childhood obsession with Weird War Tales comic books, those oft-mentioned on this website stories about skeletal Nazis drifting across war-ravaged, mist-enshrouded landscapes while a terrified GI crouches in a trench. Or my personal favorite, the one with a cover where a centaur is attacking a Panzer. What the hell was going on with that one? I guess if I had my millions, I’d blow a lot of it on the usual stuff people blow easy millions — top hats, monocles, stuff like that — and the rest I’d devote to remastering and releasing on DVD obscure Eurospy films mostly for myself, and to producing a long series of horror films set during the two World Wars and featuring green fog and skeletal specters clad in tattered military uniforms. Heck, it’s better than losing it all to some shyster investment banker.
Anyway, like I said, there aren’t many horror films set amidst wars. There was one about two guys stuck in a trench in WWI, I think. And I’m not sure I count Manticore, even though I seem to have watched that movie like a dozen times. There are thousands of films in my “to watch” pile, including many incredible classics, and I never get around to viewing them. How is it, I ask myself, I continue to fail to watch these films but have seen Manticore and Zoolander like ten thousand times? But other than a precious few, and discounting movies that feature soldiers but are not set in actual wars, this weird little subgenre with which I’m obsessed remains curiously unpopulated. Maybe it’s because most horror films are incredibly low budget affairs, and they simply can’t afford the costuming, props, locations, and scenes of battle that would be required to properly set the stage. Maybe horror film screenwriters are just young, and they don’t know enough about such conflicts to use them as a backdrop for a film — not that not knowing much has ever stopped a screenwriter, especially a horror film screenwriter. Their offenses against even the most basic of police procedures are long-running and often astounding.
Perhaps war is simply a horrible subject in itself, and lending a supernatural air to it is seen as tasteless. Ha ha ha! Yeah, I know. The genre that gave us sub-genres like torture porn, slashers, and Rob Zombie is worried about offending the sensibilities of the world’s remaining Great War veterans. Perhaps, then the problem is that the people who have ideas for World War horror films (One or Two, either would be effective), like me, are lazy, like me, and the scripts remain as little more than half-finished ideas inside their heads. I also tend to wonder why there are so few movies about the American Revolution, what with it being kind of a big deal not just in American history, but in shaping the course of the world as a whole. I suppose the rest of the world isn’t as excited about watching a cast of thousands in powdered wigs run at each other with matchlock rifles and bayonets. Maybe I’ll do an American Revolution horror film.
Among the few battlefield horror films we find the Korean production R-Point, set during the Vietnam War and involving, among other things, spooky ghosts, cemeteries, swamps full of corpses, and a spooky old French Plantation mansion. Unknown to many of my generation and later — and probably earlier than that — South Korea had the second largest contingent of non-Vietnamese troops in the conflict, after the United States. For them, the conflict in Vietnam played out much like an extension of the Korean War, with the North Koreans playing a role on the side of the North Vietnamese. Over the course of the war, and starting in 1964, South Korea sent over 300,000 troops into Vietnam, where they developed a reputation for being highly skilled and effective combatants — so much so that the Americans looked to Korean theaters for guaranteed safety while the North Vietnamese warned their troops to avoid engaging Korean battalions if at all possible.
Sadly, very little of that effectiveness seems to be on display in the troops that make up the special squadron of this film, unless we are measuring their effectiveness at screaming, flailing, falling down, and blubbering like little babies at even the slightest of inconveniences. R-Point centers around a group of soldiers who are assigned the task of traveling to a remote station — Romeo Point — to investigate the disappearance of a previous platoon of Korean soldiers. The previous group was presumed dead as a result of some sort of guerrilla attack until a distorted, bizarre distress message was radioed in by an unidentified member of the platoon.
The assembled task force includes pretty much all the war movie stereotypes: the stoic CO, the world weary veteran, the nerdy radio operator, the blowhard, so on and so forth. I don’t know the Korean equivalent of a guy from Brooklyn who wears a New York Yankees baseball cap and is probably nicknamed Brooklyn, but I’m sure whatever it is, this movie had one. Stoic Lieutenant Choi (Kam Woo Sung) leads the bunch and is one of the only guys with any sort of stand-out personality — that personality being “stoic guy.” Things start of predictably enough, with the task force traveling up river to R-Point, only to be ambushed by a Vietcong commando. After an intense firefight, they discover the commando is a woman. Badly wounded, Choi orders her shot to finish the job, but no one can bring themselves to do it, instead leaving her to die a slow death — which seems considerably worse, if you ask me.
Upon arrival at R-Point, they discover it to be a vast lakebed, now largely drained and overgrown, not to mention prone to severe bouts of ominous fog. After holing up in a decaying French mansion, they set about searching for some trace of their comrades. It isn’t long, however, before things start to get really weird. Soldiers start catching glimpses of other people disappearing into the shadows or running through the treeline. A group of Americans chopper in one night and deliver further ominous warnings about R-Point, detailing the location’s long history of slaughter and mass graves. And then one by one, members of Choi’s detachment start vanishing, turning up dead, or going insane.
There is much that R-Point does incredibly well, and several things it does poorly. So as to end on a high note — because I really did like this movie — we’ll tackle the negative first. And nothing stands out as a bigger negative than the behavior of the soldiers. They quickly degenerate into a state of shrieking and crying and falling over, becoming largely indistinguishable from one another, as well as becoming keenly irritating. I don’t expect people not to be scared when they are being hunted by ghosts and staying in a creepy old bombed out mansion, but one expects at least some degree of discipline and training to be on display at some point. But almost from the very beginning, with the exception of Choi and grizzled vet, Sergeant Jin (Byung-ho Son), the entire group is crying, cowardly, and incompetent. A better balance between soldiers trying to get their heads around their increasingly macabre circumstances and soldiers who are overwhelmed by it would have made for a much better movie, and one that deals with the complexity of entering a warzone and coming face to face with literal ghosts in a much more intelligent fashion. Instead, the movie becomes a long succession of crying, scares staged around dudes squatting over the latrine, and guys going, “Wait! Where did Corporeal So-And-So go???”
The film also falls back on the now-tired old Asian horror film chestnut of a spooky girl with long hair, which is a shame after the film goes through so much trouble to set itself up as something wholly different from the usual piles of Ring-inspired spooky girl horror films from Japan and Korea (among others). What really makes this a crime is that she is so blatant and obvious a presence in a film that otherwise relies very heavily on the effective exploitation of half-seen shapes in the shadows and momentary glances of something that was maybe there, maybe not. Shoehorning the female ghost into things not only undercuts the basic mystery, but seems wildly out of place, as if a producer somewhere along the way panicked and insisted that they put a female ghost with long hair into the film at some point. Her scenes are weak not just because she is photographed with such solidity, but also because the film doesn’t seem that committed to her presence, as if it is shrugging and saying to us, “Look, I didn’t want her in, either, but that producer insisted. Stick with me, and we’ll get to more scenes of creepy caves and ghostly soldiers pretty soon.”
So those are the negatives — provided one takes the appearance early in the film of an anachronistic DHL deliveryman in modern, bright yellow uniform to be amusing but ultimately harmless — and each negative is acutely noticeable and undermines the film in a way that can’t really be ignored. Because of these, I can understand people dismissing this film as an interesting failure. But it can be made up for if the movie exhibits strengths in other categories, and in that regard, R-Point succeeds admirably. First and foremost, this movie is creepy. Really creepy. The initial reveal of the French mansion that will become Choi’s base of operations is incredibly effective, fading into view as the sun rises on a gray and foggy day, and looming over the soldiers like the embodiment of all the death and decay perpetrated by the war. As far as the “old dark house” trope of ghost films go, this place is one of the best.
But it’s not left up to the mansion to shoulder all the creep factor. Drawing perhaps on the influence of Apocalypse Now in making the jungle seem surreal and eerie, R-Point works wonders with its surroundings, bringing out not just the fear of wartime attack in the jungle, but a very palpable sense of supernatural dread lurking behind every banana leaf and twisted root. The endless swaying fields and swamps of R-Point itself are equally as spooky, allowing any number of half-seen bugaboos to come and go in the corner of your eye. Among the most effective of these is a scene in which one of Choi’s men becomes separated from his search team, only to catch up with what he thinks is them, silently moving forward through the weeds and ignoring his attempts to catch their attention. Slowly, each soldier crouches down to take cover, fading into the brush around them and disappearing. It’s a damn good scene and really plays to this film’s strengths far more than the gratuitous female ghost nonsense.
Other effective scenes include the discovery of a downed helicopter, a swamp full of decaying bodies, and Jin’s exploration of a cave. In each of these scenes, as with the one above, the film draws its strength from the feeling that something might be there. The juxtaposing of very familiar wartime iconography — the HUEY helicopter, the fact that the soldiers moving through the weeds look almost exactly like the statues in Washington DC’s Korean War Memorial — with things that are otherworldly and not quite right. It infuses the entire film with a sense of creeping unease, that odd feeling one gets when one realizes that something they thought was familiar has been transformed into something recognizable buy also wholly alien in nature. Had R-Point stuck to that, instead of falling back onto the now unwelcome female ghost cliche, it would have been a great movie. Even with these missteps, though, it manages to be a good movie, if somewhat disappointing because it’s obvious how much better it almost was. If nothing else, it proves that the combination of war with supernatural horror makes for some striking, effective imagery.
Director-screenwriter Su-Chang Kong, who also wrote the thriller Tell Me Something, wasn’t terribly experienced when he penned this script, and that perhaps goes a long way to explain the failure of the film to avoid the ghostly girl cliche and do something more with the soldiers than make them cry and complain and whine about going home because they are scared. Man, the more I think about that, the more it irks me. Still, when his script is strong, it’s really strong, and for the most part, he keeps the horror oblique and never fully explained. At times, it seems like Choi, and then Jin, might know more than they are letting on. At no time is the exact nature of what is haunting, possessing, and killing them fully explained. This makes the horror much scarier. Attempts to lend some explanation through the appearance of the female ghost collapse, and R-Point would have been better off never offering any clear explanation at all.
As a director, Kong fares much better, even though this was his first film. Working with cinematographer Hyeong-jing Seok (Kilimanjaro), Kong creates a thoroughly eerie atmosphere without resorting to lots of CGI. He allows the camera to linger just as often as he employs fast editing to imply ghostly appearances. Kong is also successful at turning everything into something spooky looking, including the jungle, the decrepit mansion, an old cobweb-covered radio unit, and a crumbling temple choked by vines. He also keeps the film well-paced for the most part — though even solid direction and art design has a hard time interesting me in yet another scene of two guys getting scared while squatting over the latrine. For the most part, though, R-Point moves at a slow pace punctuated by moments of surprising wartime violence or chilling horror film imagery. It’s too bad that Kong the screenwriter lets down Kong the director from time to time.
There’s little point in analyzing the acting, as most of it is comprised of guys crying, falling down, and begging to go home. I mean, you certainly believe these guys are scared, but it gets annoying. It also makes it hard to tell who is who — which actually works to the film’s advantage when the soldiers have their revelation about the first soldier to die. The non-blubbering, non-hysterical acting is largely left up to Woo-seong Kam as Choi and Byung-ho Son as Jin. I’d never seen Kam in anything before, or since for that matter, and he has few films to his credit despite being quite good in his role here as a man attempting to hold onto his sanity and decipher the weirdness occurring around him. Byung-ho Son I’d seen once before, in 1999’s Yuryeong (aka Phantom Submarine). He’s also quite good here as the older, more experienced soldier trying to hold the force together while they all go to pieces and Choi becomes obsessed with figuring out what the hell is going on.
R-Point is a decent entry in the war-horror film, creating many incredibly effective scenes but ultimately proving to be a bit of a disappointment because it’s almost a great film, which is often worse than just being a bad film. This is one of those movies that just needed one more revision of the script to really make it something special. Still, if you can get over how great the film could have been, you can still enjoy how good it is. Not without noticeably flaws, many of which are large enough to make not liking the film perfectly understandable, R-Point still manages to be creepy as hell in many places and an interesting film to think about. It also seems to know when it’s doing something right, and when it’s doing something wrong. Less female ghost with long hair, more war-horror would have been a vast improvement. R-Point still succeeds at being scary, and at having a little more going on upstairs than the usual horror film — especially when it comes to transposing supernatural horror on top of real world war horror, and letting the decay and spookiness of one frequently stand in for the other. It’s just too bad that, like the soldiers in the film, it couldn’t prevent itself from taking those missteps it so obviously recognizes as such.
Shaan is an over-the-top Bollywood masala film that plays in very much the same vein as Don or The Great Gambler — which makes sense, since all three of them star Amitabh Bachchan. For me, they work as sort of a trilogy, even though none of the films is technically connected to the other in any official capacity. But they share so much, both in terms of pacing and overall atmosphere (and the fact that Amitabh’s character is named Vijay in all three films), that I like to think of them as some great, flared slack-clad, bow-tie sporting, kungfu-packed epic saga. Shaan is actually the least of the three films, but that by no means implies that it is anything less than absolutely sublime. Heck, as soon as the credits start rolling, projected as they are on the swaying rump of a sexy lass, you know you’re in for a real treat.
What is it, to be a man? This is the question, indeed, many of us ask ourselves. In this, our post-macho, post-feminist, post-metrosexual era, what then becomes the measure of a man? What is it that defines his life, gives him meaning, makes him a man? Indeed such a question is difficult to answer, at times perhaps even seemingly impossible. And so we enter an era of confusion, of aimlessness, until at last something emerges from the chaos to point the way, to illuminate us, to help us along on our journey and, at long last, make the answer as clear as the crystal blue waters of Cozumel. What is it, to be a man? Let Franco Nero tell you. No, no — let Franco Nero show you.
The first fifteen minutes of Enzo G. Castellari’s Shark Hunter play as follows. We meet the titular shark hunter, Franco Nero, looking like he just stumbled out of the jungle and fell into a puddle of crazed hippie biker, while perched on a rock overlooking the ocean. Suddenly a shark catches his eye, causing him to leap up, run down the beach while accompanied by the sounds of Guido and Maurizio DeAngelis prog rock, and struggle to haul the thrashing beast to shore. He then retires to his open air beach bungalow to make love to his beautiful Mexican senorita, then goes to a bar where he beats the crap out of half a dozen thugs. Happy that Franco has whooped ass on the goon squad, a local takes him out for a bit of parasailing. I know, I know. You’re thinking to yourself that while hauling in a fishing line hooked to a man-eating shark is tough, and making love on the beach to a sexy gal is tough, and beating up half a dozen hired bruisers is tough, there’s not much that’s tough about parasailing. That’s what sunburned fat Americans do when they visit resorts, right? What’s so tough about that? Well, nothing. But while Franco does admittedly get a kick out of the parasailing, what makes this tough parasailing is that, while in mid-air, he spies a shark in the water below, let’s out a primal whoop of excitement, cuts himself loose from the parachute harness, plunges into the water, and immediately starts punching the shark in the face.
Although everything about the movie, from the title to Franco Nero’s seemingly unquenchable thirst for punching sharks in the face, would lead you to believe that this is going to be another in the brief but highly enjoyable line of Italian Jaws rip-offs along the lines of director Castellari’s own L’Ultimo Squalo, a film that so closely aped (or sharked) Jaws and Jaws 2 that an injunction was issued against it, spoiling big plans to unleash it in American movie theaters and, in fact, even going to far as to ensure that it would never see the light of day even on home video. However, after the insane opening and Franco Nero’s lesson on how to be a real man, Shark Hunter settles down into being a rip-off not of Jaws, but of another American film, 1977’s The Deep starring Nick Nolte and Jaqueline “Miss Goodthighs” Bisset as scuba divers who stumble across a fortune in sunken drugs. That film was remade in 2005 as Into the Blue, starring Paul Walker and Jessica Alba. That movie was completely idiotic, but I enjoyed it if for no other reason than it had cool scuba scenes and lots of shots of Paul Walker and Jessica Alba being scantily clad. Plus, it’s not like doing a dumb remake of a movie that was pretty dumb to begin with was any great crime against cinematic art. Of course, I also like The Deep, and it used to scare the crap out of me as a kid.
You see, I come from a long line of scuba divers, and by “long line” I mean my dad and, later, my sister. But I grew up around diving and diving equipment, and as a kid I used to get into my old man’s trunk full of equipment and get gussies up in the way-too-large for me wetsuit and flippers, mask, and dive knife, which I referred to more dramatically as the shark knife. I’d then stomp around the basement, playing Thunderball and Voyage to the Bottom of the Sea and trying to throw the knife into the bare 2x4s of the unfinished walls. When I got to watch The Deep on our brand new Betamax video machine, it enthralled and terrified me. I loved all the scuba stuff, and even at a young age I know there was something special about Jaqueline Bisset in a bikini. But the one thing anyone remembers about that movie is the moray eels. My dad used to tell me outrageous tales about moray eels, and how the way their teeth curved in meant that once they bit you, it was impossible to remove them. You just had to pull out your knife and amputate your arm. The Deep certainly backed those stories up, and for years, the sight of sharks and barracuda did little to phase me, but I was always wary of eels. Even after I learned that moray eels are basically docile so long as you don’t go shoving your arm into their hidey holes, I still get antsy when I turn around underwater and see one of them floating there, staring at me inquisitively with that horrible, evil grin they all have.
Shark Hunter, however, is better than either The Deep or Into the Blue, and Franco Nero looks less like Nick Nolte in The Deep and more like Nick Nolte in his more recent mug shot. But the gist of Shark Hunter is that Nero’s character, Mike di Donato, gets pressured by a local gangster into helping salvage a downed plane full of loot. Franco and his parasailing buddy try to figure out a way to get the gangsters off their back and outsmart them. Despite the expectation generated from a title like Shark Hunter, there isn’t much shark action in this film other than the beginning and the very end. Most of the action revolves around Franco Nero in his ratty shirt and bell-bottom dungarees getting into fights on the beach, only to have his beloved Juanita (Patricia Rivera) threatened by the gangsters. And there’s a lot of scuba diving, sometimes with sharks present, which is a touchy subject for a lot of people.
Scuba scenes usually get a bum rap in movies for being somewhat slow moving and boring. They do happen underwater, after all. I actually think a lot of scuba diving scenes are kind of keen, owing to my enjoyment of scuba diving, and depending on how they are filmed. Thunderball, for example, has pretty thrilling scuba scenes. All those Jacques Cousteau documentaries have cool scuba scenes. The Incredible Petrified World does not succeed as well with its many scuba scenes of guys sort of doing nothing for like ten minutes at a time. Anyway, point is that scuba scenes don’t have to boring, even if they frequently are. Shark Hunter has pretty good scuba scenes, though one wonders why Nero spends so much time diving in his blue jeans when he later reveals he owns perfectly good shorts and a wetsuit. I don’t know if you’ve ever tried to swim in blue jeans, but it’s not pleasant. The scuba scenes are also aided by the fact that Castellari was fond of slow motion action scenes anyway, so you hardly even notice the diving is slow. At least he didn’t film them in slow motion.
Castellari and Nero worked together several times before most notably on the superb 1971 poliziotteschi thriller High Crime. Among the many, many directors who made a living in the murky waters of Italian exploitation films, Castellari was one of the best when he was on his game. Like Umberto Lenzi and Antonio Margheriti, Castellari managed to direct some really great action films. He also managed to direct some really awful ones. Castellari, however, directed fewer truly awful films than did Lenzi and Margheriti, possibly because Castellari managed to avoid having to make crappy cannibal movies. Where as other directors skipped from one genre to the next based on whatever trend was at the forefront of exploitation cinema that week, Castellari stayed pretty well grounded in action films. He avoided horror almost entirely. Even when he ventured into the realm of other genres — most notably a few post-apocalypse Road Warrior rip-offs in the 1980s — he treated them more or less like action films. The one time he worked almost completely outside the realm of what he was familiar with was 1989’s Sinbad of the Seven Seas, and we can see how that worked out for him. By the 1980s, there was no doubt Castellari knew his stuff, even if he wasn’t exactly what you might call a visionary artist. He did have his style though, and he seems interested in Shark Hunter, which he keeps moving along nicely and crammed full of action both above and below the ocean surface.
If there’s anything to criticize in Castellari’s direction, it’s the choice to use footage of real sharks being caught and killed. This only happens once or twice, and I suppose scenes of shark fishing are more defensible than other scenes of real animal cruelty that pop up in Italian exploitation films, but it’s something to warn people about. I understand why they used real footage, though I don’t necessarily agree with the decision. But then, I used togo fishing, and lord knows we used to take pictures of ourselves with our fish, so I guess that’s why I can’t see to getting too worked up about the scenes of a hooked shark in this movie, as opposed to the far more frequent and far more abusive animal killing that goes on in those cannibal films.
Franco Nero is in good form here, looking completely deranged and badly in need of a shower. You’d think a dude who constantly went swimming and shark punching in the clear waters of Cozumel, Mexico, wouldn’t have so much soot and crap smeared all over his face, but then you’d also expect that a guy with a girlfriend that pretty would have at least two pairs of clothes. But the only thing he has is his outfit, and then the same outfit with a hat and sunglasses. Nero throws himself headlong into the role though, lending it gravity and a great intensity, and the look is pretty spectacular. Nero made a career out of playing bad-asses, and while he’s not as bad-ass here as he was in some of his old cop films, he still punches sharks in the face and jumps out of parachutes to wrestle them. Eventually, the movie gets around to explaining why sharks piss him off so much, but it’s pretty uneventful and predictable. He goes on to have family members killed in a traffic accident, but he doesn’t run around Mexico punching cars and trying to drag them back to his bungalow. And given how much the guy hates sharks, and how he seems to spend all day sitting around just waiting for a change to sock one in the jaw, you have to wonder they come to his aid all Aquaman-style during the underwater finale. I guess they respect his predatory, killer instinct and knotty tangle of blond locks.
Helping the movie be that much cooler is the music by Italian exploitation film staples Guido and Maurizio DeAngelis. Blending rock, prog, and film orchestration, G&M, who also worked under collective name Oliver Onions for some reason, turn in a great score that perfectly matches the action and fires up the blood. Pairing all that with nice location work in Cozumel — my dad’s favorite dive spot, incidentally — makes for an all-around thrilling action film that is far different than the Jaws inspired title would otherwise lead you to believe.
You wouldn’t think that a movie with a title like Strip Nude for Your Killer would turn out to be among the sleazier, trashier, less redeemable Italian thrillers — or giallo — but what do you know! Strip Nude for Your Killer turns out to be among the sleazier, trashier, less redeemable Italian thrillers, and if you know anything about gialli, you know that sleaze, trash, and irredeemability are practically requisites for the genre. Strip Nude for Your Killer is also probably not the best film to use as a primer on the tropes and history of gialli, but at the same time, perhaps the fact that it slavishly caters to the lowest common denominator expectations of giallo films and never exhibits much in the way of style or ambition beyond fulfilling the base formula requirements make it the perfect, if not respectable, candidate for the following brief — and possibly wildly inaccurate in spots — history of what fans loving refer to giallo.
Giallo is, like pulp fiction in America, a loaded and often misrepresented concept that takes on various attributes and boundaries depending on who is doing the defining. Pulp, for example, was used to cover everything from romance to cowboy to crime to sci-fi and horror stories, though in time it became more specifically identified with crime and fantastic literature. And then, in the 90s, pulp started being used as a description of outrageous action cinema from the 70s, applied interchangeably with “cult film,” “drive-in movie,” and most recently, “grindhouse.” Pulp thus became an adaptive term, and even though it no longer meant what it used to mean, just as “drive-in movie” could have been any movie (I saw Jaws and Star Wars at the drive-in in the 70s, after all) but now has a very specific exploitation-oriented definition, “pulp” has an agreed-upon (more or less) pop culture definition that most people live with.
The history and evolution of giallo in Italy is very similar. Giallo originally referred to a series of pulp novels published by a company called Mondadori. The name “giallo” arose from the bright yellow covers that identified books as part of the series. As with American pulps of the same era (the first giallo was printed in 1929), the subject matter of giallo varied wildly, but in time they seemed to settle down into a steady pattern relying predominantly on murder mysteries, horror, and lurid tales of wanton sauciness. From time to time, the stories of well-established and well-respected mystery authors like Edgar Wallace and Agathie Christie showed up as part of the giallo series. Thus, like pulp, giallo became a much more specific phrase, irritating some (as does the abuse and rampant application of the descriptor “pulp”).
Making any claim regarding which film was “the first” of any type of film is pretty silly. No matter what you pick, someone is going to find an earlier film that fulfills the same basic requirements of whatever genre you’ve chosen, and then they’ll start claiming that movie was the first. Sort of like, “who was the first punk rocker,” a debate that includes everyone from Iggy Pop to Joey Ramone to the MC5 to Mozart. Or, to relate it to film, there’s the endless debate over “the first slasher film.” With “first” being nigh impossible to nail down, what becomes more important is the first film to act as a major cultural touchstone. So, while nailing down “the first slasher film” may be almost impossible, nailing down “the film that inspired the slasher movie boom of the 80s and defined the tropes of that trend” is much easier.
The exact same problem exists in determining “the first giallo movie.” Considering that Edgar Wallace and Agathie Christie books were part of the giallo series, you could reasonably argue that one of the movies based on those was the first giallo. What is more pertinent, again, and at least for our purposes here, is to define the film where the giallo trend really arrived, and the film that served as the template for the movies that would follow this trend. Regarding this, most people agree that it’s Mario Bava’s 1963 thriller The Girl Who Knew Too Much (which even features the lead character reading a giallo novel), with a major assist from Bava’s Blood and Black Lace in 1964. It is in these two movies that we see most of the “rules” of the genre established, sort of like how George Romero’s Night of the Living Dead certainly wasn’t the first zombie film, but it was the zombie film, and it set forth a template that is followed to this very day. Bava’s two early murder mysteries laid the foundation for what would come after them. And of course, just to dirty the martini further, from that start point forward, you can spend plenty of time endlessly debating which films are or are not gialli, or which films are or are not zombie films. So on and so forth. After all, us film nerds gotta debate something, and some of us are tired of arguing about whether or not Star Wars was awesome or sucked.
Bava’s two movies give us the framework and the common themes that define giallo: the unreliable eye witness and the general unreliability and subjectivity of observation, the international jet set flavor (including frequent use of American and British leads), the obsession with fashion and photography (another form of observation) and the industries that exist around each, prolonged and often fantastically complex murder sequences, highly stylized lighting and cinematography, and perhaps most famous of all, the black-gloved killer.
Giallo simmered through the 60s, but it was in 1970 that things really exploded. That year, a former scriptwriter and assistant director named Dario Argento made the film The Bird with the Crystal Plumage. Here, what started with Bava became crystal clear and fully realized. From 1970 on, the always zealous Italian exploitation market began cranking out all sorts of films that fit the giallo bill, more or less. Adding a dose of 1970s libertinism to the Bava formula, the giallo directors of the 70s were able to heap on more gore, nudity, and general sleaze. The films also showcased an increasingly cynical viewpoint of the morality of man, often featuring victim characters who were only marginally less rotten than the mysterious killer. Some of these films were incredibly good. Some wallowed in their own filth. A few were just plain awful, but most were enjoyable in a wild Grand Guignol fashion that demanded you abandon logic, accept often wildly improbably plot twists and resolutions, and concentrate instead on the imaginative style and outlandish setpieces. In other words, if you are going to be upset about disappointing revelations and idiotic, illogical behavior on behalf of the victims, giallo is not the genre for you to play in, and you will find little, even in the best films, that will convince you otherwise. These films take place in a world that appears similar to ours and involves characters who resemble humans, but ultimately, the world of the giallo film and the people who inhabit it resemble humans and the human world only superficially. Gialli operate under their own set of rules, and dealing with it can often be irritating — especially since that leads to the age-old battle over when something is an intentional artistic vision and when something is just incompetent crap.
In the case of Strip Nude for Your Killer, the debate is pretty one-sided. This movie is definitely incompetent crap. It’s largely unimaginative, always seedy and mean-spirited, and laughable in its attempt to build the central mystery. That said, it’s also horribly fun in a way you should be maybe just a little bit ashamed of, and it stars the queen of 70s giallo and one the most perfect and beautiful women to ever walk the planet, French Algerian actress Edwige Fenech.
To be fair, Strip Nude for Your Killer may be scummy, but it wastes no time letting you know exactly where you stand, as the first shot is a full frontal nude shot of a woman in a doctor’s office, legs up in medical stirrups, with a doctor’s face firmly planted between her legs. If this image — and keep in mind that it is quickly revealed she’s in the middle of an abortion — offends or insults you, then it’s best to just skip ahead to some other movie. I recommend Dario Argento’s Deep Red. It’s really good, and as far as gialli goes, it’s pretty clean. At least it doesn’t start off with a close-up of a chick getting an abortion. From this auspicious opening salvo, Strip Nude for Your Killer has the woman suffer a heart attack, causing the doctor and his pal to bring the woman back to her home and leave her in the bathtub in hopes that the police will just chalk it up to a heart attack without noticing the abortion thing.
From there, the film picks up at a photography studio staffed primarily by snide, condescending people who all seem to hate each other. Among them are star photographers Carlo (Nino Castelnuovo) and Magda (Edwige Fenech), who are involved with each other though Carlo is by no means a one-lady man. The other cast members all have names too, but there’s not much point in remembering them since, 1) they’re all basically the same character, and 2) they’re all going to die anyway. And sure enough, it doesn’t take too long before someone is stalking the employees of the studio and killing them off. Signature murders include the stabbing of a woman who, upon realizing a prowler may be in the house and all her co-workers are getting murdered, investigates while completely nude except for a pair of clunky platform clogs; and then there’s the one where, after charmingly attempting to rape a co-worker before going impotent, we get ample shots of an enormously fat man in his sagging tighty whities and black dress socks, clutching a deflated blow-up doll in one hand and a kitchen knife in the other while he cries uncontrollably. Tasteful!
Eventually, the cast is whittled down to a few potential suspects, including Carlo, Magda. Carlo and Magda take it upon themselves to investigate the murder, though it’s possible on of them is actually the culprit, and for some reason, any time they turn up a clue, they make a big fuss about how they couldn’t possibly go to the police with it, even though there’s no actual reason they couldn’t go to the police beyond the fact that the giallo film depends on the concept of the amateur sleuth, and writer-director Andrea Bianchi sort of blows at writing stories. When the killer is finally revealed…well it’s best for this movie and for many gialli to master the use of the phrase, “Oh, come on!” Strip Nude for Your Killer isn’t quite so bad as to have the killer be someone that hasn’t been in the movie until the point they are revealed to be the killer (“Why, it was his brother we’ve never seen all along!”), but it’s really close. And there’s plenty more “Oh, come on!” moments to keep your eyes rolling. Like the part where Magda goes to retrieve film from Carlo’s studio that presumably has pictures of the killer on it. While there, the lights go out, and Magda hears someone else sneaking around. So, knowing that everyone who works at your studio is being murdered, knowing that you have a piece of evidence that could reveal the killer, and knowing that the killer knows you have this and also knows where it is, when you are in this place, and the lights go out all of a sudden, do you instantly think, “Goodness, it is entirely likely this killer who has been stalking us has now arrived here!” Or do you think, “Aw, it must be a blown fuse!”
In fact, there are three distinct points at which you will need to master the use of “Oh, come on!” if you are ever going to get very far into the world of Italian murder mystery horror fun. The first is used pleadingly and comes when you engage in the following exchange with a friend:
You: Let’s watch Strip Nude for Your Killer.
Your Friend: That looks like crap.
You: Oh, come on!
You will also find the phrase handy to use in a sort of “just roll with it” use. For example:
Your Friend: Wait! Why can’t they go to the police? Man this movie is idiotic.
You: Oh, come on!
And finally, there is the point at which you and your friend can finally agree on the proper application of the phrase. This comes at the end, when the killer is revealed to be someone you can’t even remember if they were in the movie before. It is here that you can both roll your eyes and exclaim, “Oh, come on!”
Strip Nude for Your Killer definitely requires a healthy sense of humor to get through. Director Andrea Bianchi does not possess the stylistic flourishes that make many other bad gialli worth watching even when their plots are of dubious merit. What Bianchi lacks in terms of inventive direction he attempts to make up for with sleaze, and at least on that level, he’s a Viking. Before you even start the movie, you can guess what sort of ride you’re in for. And while some titles may make lascivious promises the movie can’t keep, Strip Nude for Your Killer definitely is not one of them. I mean, here’s a film that plays a botched abortion for cheap titillation and ends with a joke about a guy strangling his girlfriend and sodomizing her against her will. Oh, the hilarity! In between, you get near frequent male and female nudity (often in the form of people you never wanted to see nude), plenty of slasher gore (usually in the form of the aftermath of a murder), and an all-around level of scumminess that becomes so thick it takes on the properties of camp excess. I’m sure John Waters would appreciate the ludicrousness of it all. It’s that gleeful willingness to reel about in the muck with such reckless disregard for even the most frayed threads of decent taste that keep Strip Nude for Your Killer from being offensive. It’s far too idiotic to be taken with that degree of seriousness. This movie is like stumbling upon a hobo jerking off behind a dumpster. Sure you can get offended, but honestly, what’s the point?
One of the fun things about gialli is that they actively invite psychoanalysis. Regardless of how shoddy and shallow the product may be, if it just follows the template close enough, it can piggyback on the psychological groundwork of Bava, who himself was nodding to Hitchcock. It’s like buying meaning wholesale, or shopping at Hot Topic instead of making your own punk clothes. For example, I have no doubt that Bianchi had absolutely nothing to say with Strip Nude for Your Killer. He wanted to make a sleazy murder mystery and get Edwige Fenech naked as often as possible, plus show a fat guy in saggy underpants. And that’s exactly what he did. But because, by 1975, so many gialli had been made and the cliches of the genre were so well established, he didn’t have to put any thought at all into having things us film nerds could pick up on in our never-ending quest to artistically justify even the basest and greediest of crap. Strip Nude for Your Killer is rife with the standard giallo themes, the most obvious of which is the deceptive nature of observation. You could even justify the tasteless opening by saying that Bianchi is intentionally duping the audience into thinking they’re getting a bit of cheesecake right off the bat, only to spoil it by introducing a dramatic and tragic revelation regarding the nature of the nudity we are observing. You would, I think, be full of shit if you did this, but it’s still fun.
Later in the film, the roll of film with the killer’s identity is brought into play, under the assumption that a photograph of a murder in progress is irrefutable proof. Once again, however, very little is what it appears to be. Edwige spends much of the movie poring over photographs of the victim, an old magnifying glass plastered to her face as a visual homage to the dime store detective novels from which the giallo film grew (and also as a fine example of how magnifying glasses aren’t designed work). In Strip Nude for Your Killer as in many other far superior gialli (specifically Dario Argento’s Bird with the Crystal Plumage and Deep Red), the protagonist spends a great deal of time examining and re-examining something that seems perfectly clear but is later revealed to hold a significance no one recognized. Bird with the Crystal Plumage is one of the most obvious indictments of the notion of eye witness, but Deep Red is my favorite for playing off the lead actor, David Hemmings, and his role as a photographer obsessed with the grainy, minute detail of a photo in Anonioni’s Blow Up. In the case of Strip Nude for Your Killer, Bianchi is obviously just copying what he’s seen before, but it’s still kind of fun and one of the reasons bad gialli are often still enjoyable to dissect.
Bianchi is no stranger to sleazy thrillers. His filmography includes Cry of the Prostitute, The Malicious Whore, and Burial Ground, infamous for casting an obviously older midget as a child, and then having him bite off his mom’s breast while she lovingly breast-feeds him. I ain’t talking no Harry Earles looking guy, either, where you could almost believe the illusion that he was a little kid (still way too old to be breast feeding though, at least off his mom). No, this was more like a cross between Dustin Hoffman and Chris Kattan. Anyway, Bianchi isn’t much of a director, and whatever style exists in Strip Nude for Your Killer is most likely the product of Bianchi aping those who came before. The direction is competent and professional, but not much else.
Of course, for most viewers, there is one big reason, at least above the simple blanket “because it’s Italian giallo,” to watch Strip Nude for Your Killer, and that’s the appearance, usually nude or in little more than panties and an unbuttoned men’s dress shirt, of Edwige Fenech. Fenech was a staple of both Italian sex comedies and the giallo film, and she brought to the game a wicked combination of actual acting talent, comedic timing, a willingness to drop her robe for pretty much no reason, and some of the most devastating good looks I’ve ever seen. She split her time evenly between exceptionally great gialli like All the Colors of the Dark and other films with director Sergio Martino, and dodgy nonsense like this and The Case of the Bloody Iris. She was always game, though, and never looked to be half-assing it, even when her primary role was to show half her ass. In Strip Nude for Your Killer, she’s about as close as you’re going to get to a likable character, even though she’s kind of condescending and nasty to people. But when you’re surrounded by the likes of mean-spirited S&M lesbians, a guy who thinks anal rape is hilarious, a fat crying guy who also thinks rape is the way to a woman’s heart, and someone who is killing a bunch of people — well, it’s not hard to look like the good guy.
If you are looking for a good and proper introduction to the world of Italian murder mysteries, Strip Nude for Your Killer is not your movie. You want to be watching Deep Red or Blood and Black Lace or All the Colors of the Dark. Still, if you are already prepared for the peculiarities of sloppy Italian filmmaking, Strip Nude for Your Killer is surprisingly enjoyable. Even though it’s poorly written, even though it’s relentlessly tasteless (actually, because it’s relentlessly tasteless), even though it has very few points you could single out as being good other than Edwige, and even though it’s packed full of gratuitously seedy garbage (once again, what I mean is because it’s packed full of gratuitous, seedy garbage), it ultimately comes across as harmless.
I think it’s because you never get an opportunity to take the thing seriously for even a minute. Compare it to, for instance, Lucio Fulci’s New York Ripper, a film that is marginally less sleazy, almost as absurd, but a whole lot meaner. The hatred for mankind is palpable in that film, and if you make it through to the end, all you really want to do is take a shower. Conversely, Strip Nude for Your Killer comes across as little more than a bunch of drunk Italians wanting to make a movie with a lot of nudity in it. If you go to the shower after watching it, you’re doing something, but it’s not because you feel grimy and depressed. Sure, the film is mean, but it never seems serious about it or committed to its misanthropy. This could just be my perception as a horribly twisted and dark individual, but Strip Nude for Your Killer just doesn’t have that visceral kick you would need to really be offended. It was preposterous anyway, and I was having too much fun reveling in the filth alongside it to worry about the many faults.
I expounded recently, in my review of Throne of Fire, on the fact that I am still a sucker for cool cover/poster art, even though I know full well that the movie being advertised is rarely as good as the illustration advertising it. So let me now explore another of my sundry weaknesses: I have a weakness for cool-sounding team-ups. It probably started back when I was a wee sprout camped out in front of the television late at night, watching old Universal horror films. Frankenstein and the Wolfman, in the same movie? Boss! And while the high concept team-ups were generally slightly more dependable than poster art, that didn’t mean that they still weren’t, by and large, a bit disappointing most of the time. But still, come on! Frankenstein versus the Wolfman! Dev Anand versus hippies! And in the case of Our Man in Marrakesh, Tony Randall versus Klaus Kinski. Tell me that one isn’t epic sounding. And while my gullible faith in the high-concept team-up often let me down, I was certain that Tony Randall versus Klaus Kinski in a lighthearted Eurospy adventure would live up to the promise. I’m happy to say that, unlike Throne of Fire, I was pleasantly rewarded this time around.
The phrase “Jess Franco at his worst” is something that should strike fear in the hearts of even the stoutest of cult film aficionados, to say nothing of the mainstream masses who go about their daily lives in blissful ignorance of the sundry celluloid abominations lurking in the dank, shadowy alleys of the cinematic landscape. Even at his best, Jess Franco manages to illicit negative reactions (to put it politely) to his work from the vast majority of viewers. And Jess Franco at his worst? The sane mind dare not even imagine what such a beast would look like! I, as has been stated elsewhere, am a fan of Jess Franco, and a pretty big fan at that. And as a fan of Franco, I recognize that often times the dank, shadowy alley leads to the secret door that opens up into a magical psychedelic jazz strip club decorated with garish pop art excess and populated by the bizarre and decadent fringes of lunatic society.
I freely admit that, for one not predisposed toward Franco’s peculiar predilections and directorial quirks, his films can be inaccessible and rather impenetrable — which I guess is my way of skirting around calling them boring and incompetent. As for myself, my appreciation of Franco and of the Franco aesthetic has grown over the years, aged like a fine wine, until I have reached the point where I positively adore his warped creations. If I could have any filmmaker’s career, I would most likely end up picking Jess Franco. If nothing else, imagine the sheer number of bizarre stories he must have amassed over the decades of his long career as a cult filmmaker on the fringe.
Franco himself probably could have picked the film career of any other filmmaker to be his own, but he eventually picked Jess Franco as well. He was not always the maverick nutjob over-indulging in his own obsessions. There was a time, however brief and long ago, that Franco flirted with mainstream acceptability and garnered praise and work from more established and well-respected members of the cinematic industry. But every time the choice was presented to him: play the game and be accepted or play by your own rules and remain on the fringe, Franco took the fringe route. You can chalk this up to whatever you want: dedication to a personal vision, artistic madness, or the inability to make a sound business decision. It’s probably all three, and then some. Whatever the case, Franco become a filmmaker so prolific and so committed to his own idiosyncrasies that at some point he may very well have stopped making movies in specific genres and became a genre unto himself.
If you know Jess Franco, then you know what I mean when I say “a Jess Franco film.” You know that there are tropes and themes that run through most all of his films regardless of whether they are horror, science fiction, espionage, sexploitation — all other labels applied to his films are secondary to that of “a Jess Franco film.” And at times, not only is Jess Franco a genre unto himself, but his films attain such lofty levels of bizarreness that they perhaps stop being movies at all and become some entirely new and incomprehensible type of art. Or maybe he’s just bad at what he does. Whatever the case, and probably because Franco and I seem to share a lot of common interests, fetishes, and obsessions, I have grown to look upon his body of work with considerable fondness and respect.
And I am not alone. As more and more of his films find their way to DVD in uncut and properly presented formats, Franco’s fanbase is growing. However, even among his fans, the jungle adventure Diamonds of Kilimandjaro (their spelling, not mine) gets very little love. Even those with a tremendous talent for digesting Franco seem to regard Diamonds of Kilimandjaro and it’s follow-up, Golden Temple Amazons, as among the very worst films Franco ever made. And while “Jess Franco at his worst” is more than enough to keep most people away (hell, “Jess Franco” alone is enough to keep most people away), that phrase is, in turn, more than enough to make me think, “Man, this I gotta see!”
So with my love of Franco in general established, let me further say that I also have a weakness for jungle adventure movies. Some of the earliest films I remember seeing were the old Tarzan movies starring Johnny Weissmuller, and between those and all the Poverty Row b-movie adventures about jungle goddesses that filled Matinee at the Bijou when I was a kid, plus a dollop of old pulp stories when I could find them, I knew that jungles were full of crocodile wrestling, hot chicks in loin cloths, lost treasure, ancient crumbling cities carved into the sides of cliffs, and oblivious British professor types in pith helmets explaining some anthropological point as they puff on a pipe and fail to realize that they are slowly sinking in quicksand. And men of adventure — men like me — would stride through those leafy quagmires with a machete in one hand, a colonial rifle in the other, and harvest glorious tales of adventure and romance. Yes sir, that was the life for me. And even though I’m in my thirties now, I still haven’t let go of the dream that one day I’ll be living that kind of life. The closest I can get is the jungle adventure film, all full of the good stuff I just mentioned, and usually even fuller of scenes consisting of the stars pointing at something off camera, followed by a cut to grainy stock footage of an elephant or a rhino or something.
So that brings us to Diamonds of Kilimandjaro, an old fashioned jungle adventure film as directed by Jess Franco and produced by Eurocine Studios in France. Man, for a guy like me, it just keeps getting better! Eurocine was infamous for being the production house that looked at the very cheapest, laziest, and sleaziest of European exploitation films and felt that they could do it even cheaper, lazier, and sleazier. In fact, “Cheaper, Lazier, and Sleazier” might have been their corporate mission statement, and as far as I can tell, they always lived up to it. You knew that with any Eurocine production, you were going to get a plot that had been written on the back of a used napkin five minutes before filming started. You knew you would get stars with no interest in acting in the movie. You knew you would get a director who was considered to be the worst by most people but was still working beneath himself when working for Eurocine. And perhaps most defining of all, you knew you were going to get a whole lot of nudity. I’ve always wanted to research and write two film books. One would be a history of exploitation filmmaking in Florida, when folks like David Friedman, HG Lewis, and Doris Wishman were running wild and setting gorillas loose in nudist colonies. The other would be a history of Eurocine, driven by personal anecdotes from the people who worked for and with them. It must have been insane, and any book on the subject would be a tome of ultra-cheap filmmaking techniques and hilarious personal accounts. Sounds like a job for Tim Lucas and Pete Toombs!
Among cult film fans, Eurocine’s best-known production is probably Zombie Lake, a film of staggering incompetence directed by one of my favorite directors, Jean Rollin, after another of my favorite directors (Jess Franco) turned it down because the movie was just too cheap and crappy. Too cheap and crappy for Jess Franco, huh? Truly, it boggles the mind. But Franco wouldn’t get through a lifetime career in exploitation films without doing some work for Eurocine. Diamonds of Kilimandjaro and Golden Temple Amazons were two of the movies Franco apparently didn’t think were as cheap and shoddy and ill-conceived as Zombie Lake. And while even Franco fans seem to hate both films, I have to admit that, well, just like Zombie Lake, I kinda like them. Actually, I more than kinda like them.
Diamonds of Kilimandjaro is basically the end product of someone at Eurocine getting stoned and proposing a movie probably with the description, “It’d be like Tarzan, but with tits!” And from what I can tell, that’s about as far as you had to go with concepts and pitches at Eurocine. All that’s left to do is call Jess Franco and tell him to have the film done in a week or two. Diamonds of Kilimandjaro begins with a plane crash, as all good Tarzan rip-offs do. The only survivors are a caricature of a Scotsman and his daughter, Diana, who grows up to be German sexploitation actress Katja Bienert. For some reason, the natives who find them decide to worship the Scotsman as a god, even though they already seem to know what white people are and thus shouldn’t really be so enraptured when one of them drops by wearing a knit cap and kilt. Years later, an expedition to the jungle results in an explorer running into Diana, who has an aversion to wearing tops — an affliction all women in this movie seem to have. When she frees him after the others want to put him to death for trying to take sacred diamonds from the jungle (actually, it’s a small chunk of amethyst), the explorer returns to civilization and reports to the dying matron Hermine (Lina Romay in heavy old-person make-up) that her daughter is still alive. Hermine then commissions an expedition to find the child and return her to civilized society.
So begins the adventures of one of the worst-equipped jungle expeditions of all time. Two of the guys (Albino Graziani as the dickish but ultimately moral Fred, and Antonio Mayans as the friendly but ultimately immoral Al) at least spring for proper jungle attire, or as proper as dungarees and t-shirts can be. But the other guy, Diana’s drunkard uncle or something, played by Olivier Mathot, shows up wearing his finest flared slacks and loafers. Still, that’s nothing compared to his wife, Lita (played by Mari Carmen Nieto, aka Ana Stern), who shows up for their jungle adventure wearing the same tank top, denim cut-off hot pants, and high-heeled, hot pink 1980s scrunchy boots that she would later wear in Jess Franco’s Mansion of the Living Dead. Seriously, someone needed to get this woman one of those old Banana Republic catalogs, from back when the catalogs were digest sized and printed on thick brown paper, and all the clothes were safari and adventure themed, with lots of tales about rum and gauchos and jungle expeditions thrown in for good measure. Lucky for all involved, Lita’s questionable taste in rain forest hiking attire will not be much of an issue, as she spends much of the movie naked.
In fact, if you are going to like Diamonds of Kilimandjaro, you are going to have to really like two things: naked women and random shots of jungle foliage, because that’s about all this movie is comprised of. In fact, they should have just titled it Tits and Foliage, because it’s not like I wouldn’t watch a movie called Tits and Foliage. In fact, I’d probably be more likely to watch Tits and Foliage than something called Diamonds of Kilimandjaro. Plus, the movie is full of tits and foliage, but there are no diamonds, and there is no Kilimandjaro. For like 89 minutes this is a movie about a group of dumb people trying to find a naked white chick in the jungle while a naked black chick in the jungle throws spears at them. And then in the last minute, some Scotsman in a hut stammers, “You are here to steal the treasure!” Huh? Treasure? What treasure? What the hell is anyone in this movie talking about?
If you asked me if I like this movie, the answer would be an enthusiastic “yes!” If you asked me why I liked this movie, I would sort of shuffle and mumble and get all awkward like a little kid who has just been asked what the teacher just said after being caught not paying attention. Certainly, there are very few, if any, artistic merits about Diamonds of Kilimandjaro. Most of the signature Jess Franco flourishes are absent. There’s no jazzy psychedelic score. There’s no ultra-cool pop art nightclub. There’s no interesting cinematography or direction. Jess pretty much sits the camera in the jungle (or a Spanish stand-in for a jungle) and lets stuff happen in front of it. If the movie is short on running time, no problem. He’ll just shoot fifteen seconds worth of random palm fronds and jungle scrub to pad things out. Still short on time? Might as well use some of that stock rhino footage Eurocine found lying around in a warehouse somewhere. It’s obvious that Franco was as bored making this movie as most people are watching it. And yet, I really like the movie. Is it the threadbare plot? Is it the bored acting? The listless direction? The plodding pace? I can’t say for sure, but something about this movie delighted me. I guess, Like I said before, I’m just a sucker for jungle movies, especially when they feature an adventurer in high-heeled, hot pink 1980s scrunchy boots.
Lead actress Katja Bienert has little to do beyond walk around the jungle naked. When she is given more than that to do — swinging from a vine, for example, the results are usually pretty good evidence for why she wasn’t given much to do beyond walking around the jungle naked. She sort of flails around on the vine for a second and is obviously about to fall right before Franco cuts away and dubs in a war cry that sounds more like, well, the sound you make when you are about to fall. I don’t think even Tarzan himself would have seemed as cool if his war cry had been, “Whoops!” Bienert looks good in a loin cloth, of course, and she worked with Franco a number of times before and after this film, including Eugenie, Lillian the Perverted Virgin, and one I absolutely must see, Linda — aka Naked Super Witches of the Rio Amore. In fact, as late as 2002, she was still working with Franco, appearing in Killer Barbys vs. Dracula, as well as doing a fair amount of work on German television shows. As you might guess from the titles that make up the body of her work, she hasn’t exactly achieved an air of respectability, but then, neither has Teleport City, and I’d probably be much happier hanging out with Katja Bienert than I would with Meryl Streep or the Dali Lama. Sorry, Your Holiness, but I’m bailing on you to hang out with a German sex film star, because that’s the kind of awesome guy I am. Katja spends the bulk of Diamonds of Kilimandjaro looking vaguely confused and amused, which is nice because that’s how I spent the bulk of Diamonds of Kilimandjaro, too.
Albino Graziani is another Franco regular. In fact, I don’t think he ever worked with anyone but Franco. He stars here as Fred, vying for Alpha Male status on the expedition with the less boisterous Antonio Mayans. But while Fred spends all his time carrying around a gun and shouting, Mayans is busy laying every female he sees, including Lita and, eventually, Diana herself. If there’s anything close to a complex character in this film — and there really isn’t, to be honest — it’s Fred, who reacts with disgust when he learns that there is more to this expedition than he was initially told. It turns out that Lita and boozy uncle whatever his name was are intent on making sure Diana never returns to civilization, lest they lose out on their inheritance. Al himself eventually has a crisis of conscience as well but ultimately sacrifices principal in order to steal the diamonds that are actually amethyst. Pretty much all of his character development takes place in the span of thirty seconds, which is convenient if you lead an active lifestyle and don’t have a lot of time to spend watching some dude with a beard discover himself and ultimately succumb to temptation and greed.
Actually, one of my favorite things about the Eurocine films I’ve seen is that they all try to throw in some deep, important message amid all the gratuitous scenes of naked jungle chicks and skinny dippers. Diamonds of Kilimandjaro has the moral conflict between Fred and Al. It has the moral conflict between the primitive and civilized. It has the moral conflict over whether it is right to take Diana from the jungle if she does not want to leave — would she even know if she wanted to leave? And it throws in an angry, frighteningly hot black chick (Aline Mess, also in the jungle adventure Devil Hunter with Al Cliver and possessed of the most alluring bloodthirsty snarl I’ve seen in a while) who knows these white fools are no gods and have only come to plunder her land. Mess seems to relish her role, and if there’s anyone to watch this movie for, it’s her. She spends the entire thing running naked through the jungle, beheading obnoxious jackasses with unbridled glee, doing sexy ritual dances, and throwing spears at irritating people. You could be offended by the stereotypical portrayal of blacks as primitive and superstitious, but I look at her behavior and think, “Man, what’s not to love about this girl?” Plus, she’s like the only one who isn’t falling for the “white man from sky is god!” shtick.
Oh, and there’s the moral trickiness of a father who hangs out with his naked daughter in the jungle all day, but the film seems unconcerned with that one. It is European, after all. But the script, penned by Franco and Olivier Mathot in a writing session that probably lasted twenty minutes, crams all these “big ideas” in with no real thought. Not that Diamonds of Kilimandjaro is deep or meaningful in any way. Hell, I’m like one of maybe three people in the entire world who love this film, and even I wouldn’t try to sell that claim. It’s like something I would have written when I was twelve and all hopped up on jungle adventure movies and copies of Penthouse than my friend’s dad had hidden in their utility closet.
Franco at his worst? I don’t really think so. Diamonds of Kilimandjaro is certainly not Franco at his best, but I really thought this goofy mess of a film was kind of fun. I can’t justify it, and don’t feel like I even need to. I certainly wouldn’t promise you that you will like it as much as I did. But I did like Diamonds of Kilimandjaro. It really is a throwback to old style adventure films, only without much adventure and with more nudity. It has nothing to do with the better known Italian jungle films of the 80s, all of which were gory, serious cannibal movies. Compared to those, and even with the near-constant gratuitous nudity, Diamonds of Kilimandjaro is sort of this dumb, innocent old-fashioned movie. It has a charm for me I can neither explain nor deny. It’s pure, idiotic cheesecake, and then it attempts to cram complex thematic elements in between the scenes of Ana Stern skinny dipping and Ana Stern getting laid and Ana Stern wearing her high-heeled, hot pink 1980s scrunchy boots, and Katja Bienert topless and falling out of trees. I admire that.
Release Year: 1983 | Country: France/Spain/maybe Germany | Starring: Katja Bienert, Antonio Mayans, Aline Mess, Albino Graziani, Javier Maiza, Olivier Mathot, Ana Stern, Daniel White, Lina Romay | Screenplay: Jess Franco, Olivier Mathot | Director: Jess Franco | Cinematographer: Jess Franco | Music: Jess Franco and Daniel White | Original Title: El Tesoro de la Diosa Blanca
At my age, and with my experience, I shouldn’t fall for it. And yet, on occasion, I’m still taken in by cool posters and cover art. At these times, I actually leave my body and hover above myself, screaming warnings but powerless to prevent my corporeal self from plunking down a wad of cash on a movie that has a cool looking cover. “You fool! You know the movie isn’t going to be anything like the cover!” my spirit cries, but alas his words are unable to prevent the transaction. And so it is I end up owning movies like Throne of Fire, a dreary, slow-moving, largely uninteresting Italian sword and sorcery film with a cover that featured an illustration of a big-breasted nude chick swinging around a sword and wearing a little metal thong. “This looks pretty good,” I said to myself, even as my other disembodied self was shouting, “Dude, seriously! That chick probably never even shows up in the movie! Didn’t you learn anything from the cover of Hot Potato???”
“Dreams and life — it’s the same thing, or else it’s not worth living.” — Baptiste, Jean Rollin’s Les Enfants du Paradis
From time to time, I notice there are certain directors whose films I undeniably love yet always preface a positive review of with some manner of disclaimer along the lines of “not for everyone” or “you have to be in the right mind.” More times than not, the director to which I’m referring is Jess Franco. However, this largely reflexive defensiveness could just as easily find itself employed in the shielding French director Jean Rollin. But I’m not going to fall back on any of that today, or any other day from here on out until I forget that I’ve just made this proclamation. I’m a big boy, after all, and its time to embrace my love of Jess Franco, Jean Rollin, and any other thoroughly cockeyed Eurocult director without any caveats or attempts to justify my love out of some ill-conceived sense of guilt that, because of some glowing review I might write of Blue Rita or La Vampire Nue, someone is going to go out and watch those movie and then wonder what the hell is going on. But really, that’s not something of which I should be ashamed of or feel guilty over, is it? Because if more people were watching Diamonds of Kilimanjaro or Shivers of the Vampire, then that’s a step in the right direction, isn’t it? Provided you think the right direction is mod Euro starlets constantly taking off their clothes during psychedelic stripteases performed to crazy jazz music in some club decorated with pop art sensibilities on overdrive — and you all know that’s my vision of a perfect world. Also, I would be able to fly and turn invisible, and anything I carry is also invisible if I want it to be. And I am immortal.
I went through a couple decades and then some having never even heard of Jean Rollin. It wasn’t until Cathal Tohill and Pete Tombs’ book Immoral Tales that I heard mention of Rollin’s name. While the description of Rollin’s films seemed interesting, it was the smattering of stills that really entranced me, and not just because they were frequently of unclothed women. They were also of unclothed men. Because, you know, the French and all. Unfortunately, my new knowledge of Jean Rollin was not accompanied by an ability to actually see any of the movies about which I was reading. At the time, pretty much the only source for Jean Rollin films was Video Search of Miami, and having once ordered a video from them, I knew to never do it again. But then I noticed whilst browsing the videos at a local establishment that they had a couple Rollin films of dubious legality and questionable reproduction quality, but whatever. It only cost a buck-fifty for the rental, so I picked up a little something called Raisins de la Mort. Raisins of Death? That didn’t sound too scary, even if the California Raisins sort of creeped me out. But it was also a zombie film, and up until very recently, when a long line of horrible shot on video zombie films did me in, I could never pass up a zombie film.
Then came the DVD explosion, and thanks to Redemption Video, a whole slew of Rollin films found their way into my collection and, it goes without saying, into my heart. Because, you know, the French and passion and all that. I learned a few things about Rollin, chief among them that the first of his films that I’d seen was not really typical of his output, which often revolved around vacant-eyed vampire girls in mod mini-dresses, when they had anything on at all. By comparison, Raisins de la Mort was almost an actual film. Most of the time, Rollin shot his films with the intent of achieving a surreal, logic-defying atmosphere. He also tended to shoot with almost no money, only amateur actors, and usually no script. The end results were often…complex…to digest. Rollin’s first film, La Viol du Vampire, was made more or less on a whim by Rollin and a group of enthusiastic horror film fans. It was never meant to be much more than a fan film, and Rollin’s goal was to pack a small theater with friends and friends of friends and have a fun night. As fate would have it, France happened to be in the middle of a slew of crazy demonstrations and riots, meaning that Rollin’s little homemade experimental art-horror film was one of the only new films theater owners could get their hands on. And thus, Rollin found himself with an actual release on his hands — albeit a poorly received release. Parisians may have been looking for a revolution in 1968, but not the one Rollin’s film offered them.
But Jean Rollin continued unphased. After all, he never intended for his film to be embraced by a wide audience. Rollin had been raised by artist and, as a child, surrounded by luminaries and lunatics from the fringe of the art world, including a number of Surrealists. Their vision of art obviously informed Rollin’s eventual work, and his repertoire is comprised largely of films that concentrate heavily on dreamy imagery, hallucinatory surrealism, and general weirdness. Sacrificed in the fray were things like logic, scripts, plot — little things like that. European cult film directors have often been criticized for shuffling these things to the back burner, just as they’ve been praised for their ability to create amazing imagery and mood. I’m torn, since on the one hand, I like scripts and plots and feel that film is a medium in which so many aspects of art — imagery, music, writing — must come together. On the other hand, I really like a lot of these relatively plotless movies, and I have a tremendous capacity for extracting meaning from apparent meaningless. That’s what you learn, kids, if you take film classes and work as a journalist who interviews both politicians and movie stars.
But that’s a discussion for a different Rollin film, because we’re here today to discuss one of his more accessible films, though it certainly has its fair share of Rollin’s signature oddity. Compared to most of his work, though, Grapes of Death, as it is known this week, is positively comprehensible and well-planned.
For many of the cult film fans who might be familiar with Jean Rollin without being Jean Rollin fans, it’s probably because of his infamous zombie film, Zombie Lake. The Internet certainly doesn’t lack for coverage of this masterpiece of complete and utter incompetence, and lord knows I’ve done my part. The big difference between Rollin’s usual bizarre output and Zombie Lake is that Zombie Lake is pretty much indefensible. Don’t get me wrong, I love me some Zombie Lake. I might even watch it again tonight, but the incompetence on display there is purely born of a complete and total lack of interest in making a good movie, and not from some desire to make a weird, arty film. Given the reputation of Zombie Lake, which in turn has informed the opinion of many people who don’t know Rollin for anything but Zombie Lake, delving once again into the rich, creamy lather of a Jean Rollin directed zombie film would seem…well, about as enticing as doing anything involving rich, creamy lather other than getting a good shave with a straight razor and dollop of heated shaving cream.
And while Grapes of Death may not be quite as satisfying as a good shave delivered by a talented barber who smells of menthol blended with spices and lower woodsy notes, it’s still a heck of a lot better than Zombie Lake, and just as Rollin doesn’t deserve to be judged purely on the “merits” of Zombie Lake, neither does Grapes of Death deserve to be off-handedly dismissed and placed at the same low level as that green-faced Nazi zombie opus.
Grapes of Death is an episodic series of events following Elizabeth (Marie-Georges Pascal), who finds herself on the run after she and her friend are attacked on a train by a young man who seems well on the way to having his face fall off. It turns out, we learn, that an experimental pesticide has contaminated the grapes used to make wine, thus turning much of France into — well, not exactly zombies, but close enough, especially in this post 28 Days Later era when the definition of zombie has been somewhat blurred. Rollin’s zombies showcase certain obvious characteristics of zombies as defined by the George Romero movies that have become more or less the de facto zombie rule handbook. Some of them shamble aimlessly about with their arms in awkward positions. They like to bite people. And their bodies and faces tend to decay and fester with oozing boils. But they also like to stab people with pitchforks, brandish torches, travel at a relaxed jog, and prepare dinner. Depending on the state of the infection, some people seem completely gone into a flesh-hungry zombie state, and some are still able to talk and even feel guilt and remorse over what they are being compelled by the infection to do.
Elizabeth wanders a bleak French countryside, encountering infected people from time to time and screaming in fear. Occasionally, she also meets uninfected people, but she still usually finds reason to scream in fear, since those people often end up on the wrong end of some bladed farm implement wielded by a grinning ghoul. Grapes of Death takes the unique approach of eschewing the standard “hunker down in a house and argue with each other as the living dead amass outside” for a much more freewheeling and wide open approach. Elizabeth spends most of her time outdoors in wide-open spaces. She is, at these times, relatively safe. It is only when she ventures into the closed quarters of homes or walled medieval style farm towns that the trouble begins, and the confined spaces always work against her. She eventually meet two uninfected farmers who avoided the infection because, although it is very un-French of them, they prefer beer over wine. Elizabeth’s fortunes seem to change once she meets up with these blue collar salts of the earth, but a rather large coincidence brings her into contact with her boyfriend (who we’ve never seen until he shows up at the end of the movie), and since things never end well for people in a zombie film…well, you get the picture.
In a crowded field of zombie films that tend to be largely identical to one another, few stand out. Those that do either accomplish this because they invented or are so good at executing the well-worn formula, or they have found some way to provide a unique twist on expectations while still conforming to certain expectations. Grapes of Death falls into the latter category. It is basically a zombie film, but it’s not like other zombie films. It’s open instead of confined; the zombies are cognoscente of their descent into murderous bloodlust, even if they are helpless to stop it; and although the film has plenty of gore (and gratuitous nudity), the scares come not from any sort of visceral punch but rather from the eerie atmosphere Rollin creates. The desolate French countryside Rollin uses as his location is at once familiar and strangely alien. What we expect of idyllic rolling hills and quaint old villages is subverted as soon as the oozy-foreheaded crazies start prowling about. Similarly, Rollin keeps seasoned viewers of zombie films off balance by delivering something other than what you expect, at least some of the time. And where as many zombie films, especially recent ones, rely on pumped up adrenaline and action, Grapes of Death meanders aimlessly across the French countryside at the same pace as its confused protagonist.
Coming out in 1978, Rollin’s pseudo-zombie dream was one of the earliest European attempts to mimic George Romero’s hugely influential Dawn of the Dead, though in tone and approach, Grapes of Dead has more in common with Jorge Grau’s oft short-changed 1974 zombie film Let Sleeping Corpses Lie. Both films share a pastoral rural setting turned sinister with experimental pest control methods being the culprit behind the madness. But Grau’s zombies are most definitely the living dead, where as Rollin’s zombies have more in common with creations from another George Romero film, 1973’s The Crazies. In fact, if I had to pick one film that was the most likely influence on Grapes of Death, it would be The Crazies, which is the tale of a small town that becomes infected with a virus that turns people into murderous nutjobs. Where Grapes of Death differs significantly from Romero’s film is in the mood. Romero, a former director of industrial and instructional films, has always been a largely clinical director, injecting a sense of matter of fact reason into fantastic events through his reserved direction. Rollin, on the other hand, allows the bizarre events of his film to dictate the atmosphere. Thus, while both films take place in somewhat foreboding, winterly rural locations, Rollin’s looks much more like something out of a fevered nightmare. In addition to the ragged countryside, punctuated by strangely shaped rock formations and mist, Rollin makes excellent use of crumbling old walled towns. Everywhere is a palpable sense of decay.
Both The Crazies and Grapes of Death inform the basic premise of more current films, like 28 Days Later, though whether or not those films played much role in influencing 28 Days Later is something I do not know. And of course, that movie takes yet another very different approach to the same basic premise.
Then there’s the trance-like electronic music score, minimalist and reminiscent of Tangerine Dream. Composer Phillipe Sissman only has this and one other work to his credit, and even here he doesn’t contribute much more than one weird synth theme that is used to remarkably good effect. It clashes with the natural setting around it, and with the decrepit, lived-in look of the film’s overgrown villages, but it works perfectly with the hypnotic mood of the film. It helps communicate the idea that something is not quite right.
Rollin’s film depends largely on young Marie-Georges Pascal, who like many of Rollin’s actors, was minimally experienced at the time. She appeared in a number of erotic films with titles like I Am Frigid…Why? and Hot and Naked. Although Grapes of Death is a great leap forward for her, nothing really ever came of it. In 1985, with her film career having gone nowhere, she committed suicide. Her eventual fate lends an additional level of melancholy to the film, especially given the downhearted ending. It’s obvious she has some talent, though, as she manages to create an interesting character even though she (like everyone else) has minimal dialog and spends an inordinate amount of time screaming as she witnesses one horror or another. It’s the simple everyman (or everywoman) quality that endears her to the viewer. Plus, she rarely does things that are completely and incomprehensibly stupid just so she can move the plot along. I guess that’s one of the benefits of not having much of a plot.
Supporting her are a cast largely unrecognizable to me, as like most Americans, if it isn’t Gerard Depardieu being flustered or Jean Reno punching someone, I don’t know many French actors. Some of them, like the two beer-loving guys who come to Elizabeth’s rescue, are experienced actors. But the only real familiar face to me is Brigitte Lahaie, the French porn star turned Jean Rollin muse. She appeared in many of his films and acted as sort of a muse, in much the same way Soledad Miranda (and later Lina Romay) did for Jess Franco. She has a small part here, as a woman who befriends Elizabeth (or so it would seem) and gives her protection from a town full of crazies. Of course, I’d always like to see more of her, but that’s what films like Fascination are for. She did star in one more of Rollin’s variations on the zombie theme, 1980’s strange Night of the Hunted, in which France is afflicted with mass memory loss and hysteria, causing Brigitte to have to wander around nude a lot for some reason I’ve never fully comprehended but am never the less happy to accept.
Grapes of Death may not be exactly what people expect from a zombie film, and even if it is Rollin’s most accessible and straightforward narrative, that doesn’t mean that it doesn’t rely heavily on weirdness and surrealism. I personally find it thoroughly hypnotic and imaginative. Especially after watching so many poorly-made carbon copy zombie films of late, it’s refreshing to return to something this unique. A year later, Lucio Fulci’s Zombie would come out and pretty much define the European (by then, almost exclusively Italian) zombie film for the next…well, to this very day. Fulci works in much the same way as Rollin and considers many of the same things important — the creepy atmosphere; the construction of striking, haunting imagery; the sense of decay generated by moody locations; and of course the disregard for strong scriptwriting. But Rollin is much more lyrical in his approach, and even though Grapes of Death has plenty of goo and gore (it was one of the very first — possibly the very first — French gore film), there is something decidedly different about it. If Lucio Fulci is the Chang Cheh of zombie films — all visceral punches and testosterone — then Jean Rollin’s Grapes of Death is like something from Chu Yuan. Poetic, dreamy, perhaps feminine in a way, even when naked women are being beheaded or run through with pitchforks.
It’s a shame that Zombie Lake, the movie that was too crappy even for Jess Franco, remains the best known Jean Rollin film. Most of his movies remained unseen for years, and even their initial releases played to scarcely more than a smattering of people. Grapes of Death is one of my favorite zombie films, or whatever those sort-of zombie, crazy bleeding people are called. I can, and often do, watch this and many other Rollin films over and over. Sometimes I may only half pay attention to them, like albums playing in the background, but keeping them in the corner of your eye or at the periphery of your consciousness suits them well. Of course, I also like sitting down and paying attention to them, as I think many (but not all) of his films are quite rewarding. If you are as tired as I am of movies where a group of strangers board up the windows and yell at each other for 75 minutes until the zombies bust in and eat everyone, Grapes of Death might be the remedy you’re looking for. I recommend you view it with a nice, fruity Cabernet Sauvignon.
At the time of Yorga’s release, there were very few people making vampire movies. Hammer was pretty much the only game in town, and they were still setting their vampire films in the Victorian era. Devils of Darkness was one of the first vampire films to transport a vampire into the current era, at least since the 1932 Tod Browning production of Dracula, which was set in what was then modern-day London. However, one can argue that the differences between the London of 1897 and 1932 is markedly less than the difference between 1897 and 1970, and so for our purposes here, Devils of Darkness is a more substantial foray into an unfamiliar time period than Dracula. It’s also less substantial because almost no one saw Devils of Darkness, and without a dedicated distributor or studio, it quickly faded from memory and was almost totally forgotten until it finally found its way to DVD in 2007. Which means that Count Yorga, Vampire, is really where we can say this short-lived trend began.