H.P. Lovecraft may not be one of the best writers in the world, but he’s certainly one of the most fun to read — not to mention imitate. For this reason, I got it in my head that it would be a great idea to read The Dunwich Horror aloud to my wife. She not only loves to be scared, but is so committed to the endeavor that she’s even on occasion been willing to meet Hollywood remakes of Japanese horror movies halfway. That’s a perfect attitude to bring to Lovecraft, in my opinion, because he’s an author you really need to be willing to work with. In cracking open one of his stories, you’re making an implicit agreement to be scared; otherwise it’s just not going to work. Of course, Lovecraft does his part to help you along in that regard, always letting you know exactly how afraid you’re supposed to be, even when the object of that fear remains somewhat sketchily defined, and also modeling the desired behavior by populating his stories with characters who launch into paroxysms of terror at the faintest fetid odor.
In 1960, AIP’s go-to director for cheap, quickly produced science fiction and horror double bills convinced the powers that be to gamble on letting him make a stand-alone film, in color, with double the production time and more money. Granted that, compared to other studios, this still meant an incredibly lean budget and an incredibly short production schedule. The result was Roger Corman’s Fall of the House of Usher, a landmark film in the history of American horror and one of the best Gothic horror films from any country. Although more sedate and slower paced, finally the United States had an answer to the wild, Technicolor horror films from England’s Hammer Studio.
The wonderful thing about Battle Beneath the Earth is that it allows even an underachiever like myself with no college edukation to feel that he has a breadth of scientific knowledge superior to that of its makers. On more than one occasion while watching it I was able to point at the screen and exclaim, “Der, that can’t not happen! Har!” For instance, I don’t know anything about geology, but I know that molten lava is hot, and that you can’t just daintily step over a stream of it as if it were a crack in the sidewalk. Also, if digging a tunnel between China and the U.S. were as easy as this film makes it out to be, China’s biggest problem would be the steady influx of six-to-eight year-old American boys constantly emerging from holes hither and yon to excitedly wave their shovels at people.
You’d think that the isolation of Soviet-style communism would have at least shielded the citizens of East Germany from the worst excesses of seventies fashion, but the 1976 space opera In the Dust of the Stars tells us otherwise. Neither, apparently, did it prevent the creatives at the state-run DEFA studio from falling under the influence of such decadent western cultural products as Jess Franco movies and the swinging sci-fi TV series of Gerry Anderson. That this film never saw release on this side of the Iron Curtain is no surprise, given that the vision of a socialist utopia it presents — marked by free love, frequent casual nudity, and a distinctly lopsided female-to-male ratio — is one that many healthy young Western men could easily get behind. The resulting sudden spike in defections Eastward would have been truly crippling to national security.
Shunya Ito’s first entry in the Female Prisoner Scorpion series, Female Prisoner #701: Scorpion, was essentially a women-in-prison picture that combined the action, violence and titillation typical of that subgenre with a striking number of audacious artistic touches. Ito’s second entry, Female Prisoner Scorpion: Jailhouse 41, was a whole other animal entirely. Emboldened, perhaps, by the success of the first film and the amount of creative leeway given him by Toei, Ito this time largely dispensed with genre trappings and delivered a film that was even more obviously the product of a singular directorial vision. Relentlessly bleak and harrowing, yet suffused with a desolate, breathtaking beauty and daring sense of visual invention, Jailhouse 41 is like a nightmare you don’t want to wake up from.
Angelfist, aside from being a nonsensical title, was a video box cover that haunted my friends and I for many years. It was perched right up at the front entrance of Pick of the Flicks in Gainesville, Florida, and featured a blonde woman in an ugly leotard doing what has to be one of the most awkward high kicks I’ve ever seen, while holding her arms in this weird little curled-up T-Rex position. It was perhaps the single most ludicrous martial arts movie box cover pose I’d ever seen, at least until those Matrix movies made that completely silly looking Spiderman-meets-chicken jump/pose/kick inexplicably popular. I know guys did it in old kungfu films too, and it looked just as silly then, unless they happen to be wearing one of those silver wigs that is supposed to make you look like an old master even if you have the face of a guy in his twenties. Also, if you do that kick, the only way to get any power from such an awkward position is if a foley artist loops in the screech of a hawk or an eagle right as you jump
That some of Bollywood’s worst sins have been committed in the name of nepotism is a fact which anyone who has borne witness to Karisma Kapoor‘s early career can sadly attest to. For the Hindi film industry’s directors, stars and producers, dynasty building seems to be a top order of business, right alongside the practice of their chosen craft. For a fearsome reminder of this, one need look no further than director Raj Kumar Kohli’s 2002 film Jaani Dushman: Ek Anokhi Kahani, as terrible a monument to a father’s love for his son as has ever been erected.
In 1975, exploitation film master Roger Corman produced one of his very best films. Combining a wicked sense of campy humor, a healthy dose of violence, and an angry satirical edge, Death Race 2000, directed by Paul Bartel, was the best things to bear Corman’s name (as producer) since Corman himself was directing cool horror films based on Edgar Allan Poe stories for AIP. Always keen to make a buck, Corman immediately set about creating another vehicle-based futuristic fling, albeit one with a lot less of a budget — even for a Corman flick — and a much less talented writer and director. Corman would do his best to make people think it was related in some way to Death Race 2000 by calling the new film Deathsport and casting David Carradine in the lead. But the similarities end there, and while Death Race 2000 is a genuinely good, enjoyable, and even smart film, Deathsport is an incompetent piece of junk with almost nothing to offer humanity. Predictably, I do not own Death Race 2000 and have only seen it once. I do, however, own Deathsport in two different formats now and have watched it at least half a dozen times.
At various points in various reviews, we’ve discussed the painful demise of Hammer Studios and the Hammer horror film, so rather than rehash it here yet again, I direct you to Taste the Blood of Dracula (the review, I don’t mean I’m actually directing you to taste Dracula’s blood, should you have any lying about), Dracula AD 1972, and Satanic Rites of Dracula, all of which ramble on and probably repeat the same information about Hammer’s inability to sustain itself into the 1970s and in the face of a brutal collapse of the British film industry. I also point out on several occasions that, despite the fact that Hammer was a rudderless ship adrift in a tumultuous sea, many — in fact, most — of the horror films they made in the 1970s were of exceptional quality. It’s a shame that the worst horror film they ever made, To the Devil…A Daughter was their last, and thus the swan song for a studio that deserved much better.
Cecil B. DeMille’s final silent film, The Godless Girl, had the misfortune of being released in the shadow of The Jazz Singer, making it a casualty of the rapid shift in public tastes from pictures that didn’t talk to those that did. As a result, it became something of a footnote in DeMille’s career, which is a shame. For people, like myself, who entertain a fairly narrow conception of the director based on his association with Bible-thumpers like King of Kings and The Ten Commandments, viewing it can be an eye-opening experience — because even though it is, in part, concerned with the spread of atheism among the young people of its day, it doesn’t quite come down on that topic in the way you might expect.