Sompote Sands is one of those figures in cult cinema who casts a long shadow. Granted it’s a shadow that twists around and warps into a demon like Calibos’ shadow in Clash of the Titans, but it’s a shadow never the less. Regarding the origin story of this supremely interesting and bizarre film maker, that was spoken to when we reviewed his Ultraman-meets-Hanuman epic Hanuman and the 7 Ultramen, so rather than paraphrase here, I encourage you to mosey on over and check that one out. The twisted saga of Sands’ relationship with and claim of stewardship over the work of Japanese effects pioneer Eiji Tsuburaya is one of my favorite film stories. For our purposes here, let us fast forward a decade or so, into the 1980s and a point where Sands had moved on from remaking Japanese superhero properties for the Thai market and had decided to indulge more substantially in his fondness for Thai mythology.
“Mr. Moto is a very difficult fellow to kill.” — Mr. Moto
1937’s Think Fast, Mr. Moto, starring Hungarian actor Peter Lorre as a witty, karate-chopping Japanese man of mystery, introduces us to the budget films version of Charlie Chan. It seems that the specific nature of Mr. Moto changes as the series progresses, and while he is an adventuring spymaster later in the series, at least for this first film he is identified as an import-export businessman who, like Bulldog Drummond and Nick and Nora Charles, dabbles in detective work and sleuthing as a hobby. But while it’s fair to compare Chan and Moto, other than the detective work and the fact that a white actor is playing an Asian, Moto and Chan are pretty different, both in terms of character and the movies they inhabit.
In at least one scene we see a Christmas tree and some garland, and I think someone mentions Christmas at some point. In my book, that qualifies this as a cherished holiday movie, like Gremlins and Die Hard Continue reading I Come In Peace
If you can roll with the first five minutes of Scorpions and Miniskirts, a movie that shows utter contempt for bothering to explain anything at all or connecting one series of actions to the next, then you are probably going … Continue reading Scorpions & Miniskirts
Some great directors die in the midst of their career and leave behind an inadvertent final film that does not reflect the quality of their larger career. Few would argue, for example, that Family Plot is a fitting capstone for the career of Alfred Hitchcock, or that Stanley Kubrick’s career was well served by having Eyes Wide Shut as his swan song or that Sam Peckinpah’s career ended well with The Osterman Weekend. On the other hand, some director’s die while working and leave behind a final film so stunningly perfect as their final statement that it seems hard to believe the whole thing wasn’t planned by some benevolent supreme being. Had the legendary Bruno Mattei’s life and career ended on any note other than Zombies: The Beginning, then truly this would have been a cruel and uncaring universe. But end with Zombies: The Beginning it did, and so Mattei departed this mortal coil via a film that is the perfect summation of everything he ever contributed to the world of cinema.
World, you spoil us. No matter how much we’ve seen — and we have seen a lot — you always have something else waiting in the wings to delight and make jaws hang slack. Martial arts films are especially fecund … Continue reading Dragon Lives Again
There are three Roger Cormans. The first Corman is the director Corman. Working primarily at American International Pictures, young Corman was famous for being able to crank out competent, successful films on time and under budget with a surprising consistency. Although Corman’s name is often associated with drive-in schlock, in my opinion most of what he made was, at the worst, adequate for the intended purpose of entertaining the teenagers. And on occasion, Corman directed some genuine classics of genre cinema. His Poe films with Vincent Price, for example, are some of the best Gothic horror films you’ll find.