Over on the Gentlemen’s Blog to Midnite Cinema, I’m bringing the Jess Franco and Soledad Miranda. The Devil Came from Akasava, Jess Franco delivers a dreamy Eurospy by way of Edgar Wallace krimi film full of Soledad Miranda in pop art fashion. All else is, of course, of secondary consideration.
I am back over on the Gentlemen’s Blog to Midnite Cinema, the companion blot for my favorite film podcast, writing about Incredible Paris Incident aka Fantastic Argoman aka half a dozen other titles, as is the way for these kinds of movies. Hovercrafts, psychic powers, robots, and men in banana yellow bodystockings will abound.
One of the great joys of watching movies from countries and cultures with which I have maybe, at best, a passing familiarity is discovering their language of film — both in their mainstream as well as their fringes. There is a thrill in discovering how differently one country, one region, one filmmaker can interpret how to employ this medium we love so dearly. How something familiar — a movie — can become something enigmatic, how the concept of what constitutes a narrative and for what purpose it should be employed varies so greatly. They draw on local customs and theatrical styles, local folklore and legends, and of course local tastes. How to frame a shot, how to deliver a line, how to interact with the camera, how to make a set or film on location, what constitutes a cinematic narrative — it’s amazing how many different ways these things can be done.
This is the sort of movie that might spontaneously spawn during a Guitar Wolf concert. Well, this and Wild Zero of course– an oddly apt film to bring up, as the two films share rather a lot besides leather-clad rocker protagonists. It’s over-the-top, anarchic, and every frame is infused with the spirit of rock ‘n’ roll (if not actual rock ‘n’ roll; Redline‘s soundtrack is more thumping techno oriented). It also has a sweet, doe-eyed love story beneath all the engine revving and hair grease — and if you think that is somehow not in keeping with the tough, leather-clad exterior, you might not know many rockers. They are a sentimental lot at their core. Heck, Elvis wanted to be your teddy bear. And Roy Orbison! That dude was all about crying and being sad and taking advice from candy colored clowns we call the Sandman. One of my best experiences after moving to New York nigh those many decades ago was talking an autumn stroll through Tompkins Square Park past an older (than me, at the time) rockabilly couple with arms around one another, listening to The Penguins’ “Earth Angel” on a beat up old boom box. Modern rockabilly may be all about tattoo sleeves and volume, but even beneath that noise beats the heart of a romantic. And beneath all the leather, engine revving, and alien hustlers, Redline is most definitely a romantic and sentimental movie.
The Devil used to have a lot more to do on Christmas Eve than he does these days, having been supplanted more or less in the Christmas time evil business by retail store owners and Black Friday stampedes. There was a time, however, when Ol’ Scratch regarded the night before Christmas as prime soul-stealing time, what with so many panicked, distressed, depressed, or otherwise vulnerable humans ripe for temptation. Depending on whose folklore upon which we rely, Satan’s midwinter rascalry was combatted by a variety of traditional characters. In Mexico, since time immemorial, they have told the tale of how Pitch the Devil was thwarted in his efforts to corrupt the young and innocent by Santa Claus, who lives on the moon and employed the assistance of his most trusted friend, Merlin the Magician. In The Ukraine, which these days is more concerned with contesting the antics of Vladimir the Bare-Chested Yuletide Goblin, the corrupting efforts of the more unsaintly of the famous Nicks had to be foiled by a hearty peasant in a big furry cap.
When I wrote about L.A. Confidential, I confessed that I had never been to Los Angeles (well, other than Disneyland), and had a fascination with the city that could not possibly be the least bit reflective of the reality of L.A., born as it was by my knowingly incorrect assumption that the city is nothing but a strange, hypnotic amalgamation of Raymond Chandler novels, the romance of Old Hollywood, and David Lynch movies — in particular, Mulholland Drive. In many ways, I suppose this makes me very similar to Naomi Watts’ character in this movie, albeit one I hope comes to a slightly less tragic sort of ending. And it’s fitting that all these inaccurate elements should form my amalgamated notion of Los Angeles, because they all come together in Mulholland Drive. This movie is one of Raymond Chandler “Philip Marlowe” novel — only it’s missing Philip Marlowe.
“Demobilized officer, finding peace unbearably tedious, would welcome any excitement. Legitimate, if possible, but crime of humorous description, no objection.” — Bulldog Drummond, 1929
Basil Dearden’s 1960 caper film League of Gentlemen is a little bit like if, instead of ending up solving crimes for a living, Bulldog Drummond ended up committing them; as if his humorous classified ad was answered by a fellow demobilized officer putting together a crew for a heist. Surely the overly complicated ladder theft that results would appeal to Drummond’s sense of humor. Unlike the old Bulldog Drummond movies however, beneath the breezy, dryly comical veneer of League of Gentlemen is the sort of political and social unrest that characterized much of Dearden’s work in the late 1950s and into the 1960s. The man was a master at making mainstream, commercial films that packed powerful, at times very pro-counter culture messages.
Last year, we took you on a lantern-lit tour of some of the most famous haunted locations in my adopted home of New York City. Once again, we don our novelty cloak and top hat and beckon you come with us for another round of macabre tales and spooky legends. Join me, won’t you, as we visit voodoo queens, gangland massacres, Edgar Allan Poe, and a ghostly garrison in the wilds of northern New York.
It’s a blue moon month for me over at The Cultural Gutter, and I get the honor of ushering in All Hallow’s Eve, scary sci-fi style. Something Kinda Funky looks at the time Buck Rogers, Wilma, and Twiki faced off against a nefarious Space Count Orlok in the classic Buck Rogers in the 25th Century episode, “Space Vampire.”
If jungle adventure movies have taught us anything, it’s that modern man, with all his so-called “refinement” and “civilization”, is the most dangerous animal of all. Whatever perils the jungle may hold, it is those city folk — greedy, thoughtless, and cruel — who step within its borders who pose the greatest threat. Even though those city folk ultimately fall prey to quicksand, cannibals, and hungry wild animals. Hey, the jungle was just defending itself.