Francoise Hardy may have been the most stereotypically French of the Yē-Yē girls: Aloof, sophisticated and beautifully melancholy. Nevertheless, her sound was one that was largely made in England – or, at least, by English hands, among them producer and arranger Charles Blackwell, the songwriting and production team of Tommy Brown and Micky Jones, and sometime co-writer Pierre Tubbs.
Musicians like Lee Hazlewood rode an interesting wave during the late 60s, when midlife addled moms and dads, eager not to be left behind by the caprices of a youth driven culture, started to raid their children’s record collections. This opened the opportunity for the creation of an adult oriented version of those troublesome youngsters’ music, a sort of easy listening psychedelia.
According to director Alex Cox, who’s devoted quite a lot of attention to The Great Silence, the decision to film Silence in Spain’s snowy Pyrenees Mountain region was the result of Corbucci wanting to take a skiing trip. Whatever the case, it’s a decision responsible for giving the film a unique and visually striking character.
Compared to the appellations given to the protagonists of other 1980s action films — the Exterminator, the Punisher, the Executioner — the Stabilizer sounds pretty benign. You’d almost think that he was given that name only because the others had already been taken. But then you learn the Stabilizer is in charge of stabilizing is the very balance between good and evil itself.
Nothing celebrated speed, style and technology like the James Bond films, so it made sense for Cantonese filmmakers to adapt the conventions of those films to their audience.
Suddenly the room erupts in panic as a black clad, hooded female figure makes a dramatic appearance on the landing above the dance floor. It’s The Black Rose, a Robin Hood-like cat burglar who preys on the rich for the benefit of the city’s poor and downtrodden.
For as formidable an assemblage of luchadore might as Santo, Blue and Mil to descend upon one small town there has to be some kind of secret agenda. And, indeed, there is
At the height of the Yeh Yeh Girl craze, literally dozens upon dozens of teenage girls filed through the recording studios of Western Europe and, from there, onto the airwaves. […]
One need only glance over the many titles in the lucha movie genre to see that there is a long history of enmity between Mexican wrestlers and mummies. This goes all the way back to 1964, when Elizabeth Campbell and Lorena Velazquez threw down against a pop-eyed, reconstituted Aztec warrior.
The special thing about Turkish pulp films is how, even at their most plagiarized, they can serve as an example of just how unique a complete rip-off can be