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.
“There is no monster in the world so treacherous as man.”
So we are reminded at the beginning of Larry Buchanan’s Creature of Destruction and, just in case we forgot, at the end of the film as well. I like a film with a message, but the message is considerably less interesting if the film has to print it out for you. But hey – at least the guy was trying, which is more than can be said for most films. And in the end, this film is made in the tradition of sci-fi and horror films of days gone by, when such films had messages and delivered them with all the subtleties of a stoic military general surveying some scene of mass carnage and reflecting on the follies of man. Creature of Destruction is Buchanan’s homage by way of remake. In this case, it’s a remake of 1956’s The She-Creature, a movie that never exactly called with deafening thunder to be remade.
Director Gordon Hessler is back for another AIP Poe adaptation, this one mildly clever in the way it incorporates the Poe elements into the film. As we saw with The Oblong Box and many others, it was common to take the title of a Poe short story or poem, apply it to the film, then have not the slightest thing to do with the Poe story of the same title in the plot. Murders in the Rue Morgue takes the title from Poe’s story, but instead of adapting it or discarding it, sets its action around a theatrical production of Poe’s Murders in the Rue Morgue that becomes plagued with murders and yet another vengeful disfigured madman who was buried alive. According to Hessler, this was done because Murders in the Rue Morgue had already been made into a movie, and everyone knew how it ended. Thus there was no suspense in the film — not that Hessler was all that great at creating suspense anyway.
There is a moment in Danish filmmaker Carl Theodor Dreyer’s Vampyr, a relatively unimportant throw-away couple of seconds, where the nominal hero of the story catches sight of a couple of shadows — shadows with no physical source to cast them — creeping across a field. Either because of the particularly old source material or the specific intention of the director, the film is grainy, hazy, gauzy. And it captures perfectly the prevailing atmosphere of Vampyr and why I love the film so dearly. Ostensibly a vampire film — thus the title — the hypnotic power of the movie flows not from the more visceral terror of bloodsuckers and murderers, but rather it comes from a much vaguer, ethereal place, something to do with ancient beings glimpsed from the corner of the eye, from unnerving mysterious powers, from murky forests and glens that are at once idyllic and unnerving. There is something very pagan about Vampyr that places it, for me, not so much among the famous works of vampire film and fiction, but alongside stories like Arthur Machen’s “The White People” and films like The Wicker Man.