It’s hard for us today to imagine what life must have been like for the human race in a more primitive age. But the astonishing fact remains that there was indeed a time when a movie like When Women Had Tails could not only gain international theatrical release, but also merit a sequel. Thus was born When Women Lost Their Tails, a film which today comes to us as an archaic remnant of that ancient folk tradition known as the Italian sex comedy.
Back in the 1990s, I did a fanzine that was about as successful as I could hope for given my lack of financial resources. With nowhere to print it but an all-night copy shop manned by a guy named Fred the Bastard (who would let you make thousands of copies for the price of ten), I couldn’t really achieve any impressive sort of circulation. A couple hundred though. Not bad at the time, at least by my standards. It was a pretty standard type of zine for the time. Interviews with whatever punk rock bands had come through Gainesville int he past few months, record reviews, a bunch of random ranting, and of course assorted bits of collage art. Not having a layout program at the time, the whole thing was printed out in bits and pieces using a combination of my old Atari dot matrix printer and a newer HP DeskJet 500, and then I’d paste and tape it all together by hand. Part of the reason I have no photos from 1988-1994 despite having taken thousands is because I cut up almost all of them and pasted them into the zine layout. Double prints? Keeping track of my negatives? Who ever heard of such nonsense?
I went through a pretty intense Joe Meek fixation a few years back, with the result that I now own over a dozen CD compilations of Meek rarities which, with a few notable exceptions, are mostly unlistenable. Being a completist in your approach to this eccentric, wildly uneven, and very prolific British pop producer’s work may be as self-punishing an endeavor as attempting to see all of Jess Franco’s movies. For those with a more casual interest, the 2002 two-disc compilation The Alchemist of Pop — released by Sanctuary/Castle Music and compiled by Roger Dopson with the help of Saint Etienne’s Bob Stanley — should more than do the trick. (And if even that’s too much, the 1995 Razor & Tie single disc package It’s Hard to Believe it: The Amazing World of Joe Meek, if you can find it, should fit the bill.)
Needless to say, if you want to reenact the dance contest scene from >Godzilla vs. the Sea Monster, Nippon Girls: Japanese Pop, Beat & Bossa Nova 1966-70 is the ideal soundtrack. Or perhaps it’s the swinging, strobe-lit nightclub from your favorite Pinky Violence film you want to recreate — you know, the type where Miki Sugimoto or Reiko Oshida might go to settle scores with a sleazy Yakuza boss who’s crossed them? In that case, this swinging compilation from the UK’s ever-reliable Big Beat label has got you covered as well, as it includes among its many delights pysch funk tracks marked by stabbing brass and crisp, wakka-wakka guitars. All the better for going about your dirty work while a crowd of blissed-out hipsters dances obliviously beneath the swirling lights.
It is perhaps a sign that I’ve succumbed to the stressors of the season that I’ve been re-watching a lot of these earlier lucha movies lately. While the Mexican wrestling movies of the late 60s and 70s can be amusingly trashy, those made a decade previous exhibit an appealing hokeyness and sincere desire to entertain that makes them, for me, the ideal form of cinematic comfort food. They also, in the case of films like 1960’s Neutron vs. The Death Robots, exhibit a not inconsiderable amount of appealing, old school style. Neutron vs. The Death Robots, the second in a series of five Neutron films, was directed by Federico Curiel, one of the most prolific directors of Mexican lucha films. Working with literally every major star in the genre, Curiel helmed a steady stream of entries that lasted from the early 60s until the twilight of the Mexican wrestling film’s popularity in the late 70s, in the process providing the genre with its last box office hurrah with 1972’s wildly successful Las Momias de Guanajuato.
Eight. Nine. Three. In the Japanese card game known as hana-fuda, it’s the worst hand you can get. Eight, nine, and three — ya, ku, and sa. Japanese organized crime families adopted the name “yakuza” because of this hand. Because you need to be lucky to be a yakuza. Because you’ve drawn the worst hand if you cross them. Because winning with a ya-ku-sa hand requires the utmost skill at reading an opponent. Others may claim it’s because it’s bad luck that leads to a life of crime, or because yakuza are born losers. Or because in the Edo period, when the yakuza first emerged on the scene, they might have evolved at least in part out of the tekiya and bakuto social groups.
Cruel Gun Story director Takumi Furukawa appears to have been neither all that prolific or acclaimed, but he is nonetheless an important figure in the history of Nikkatsu. It was Furukawa who directed the venerable Japanese studio’s first major hit after its return to film production in the mid 50s and, in the process, launched the career of possibly its most iconic star of the period, Yujiro Ishihara. The film in question was 1956’s Season of the Sun, the first of the wave of popular youth-in-rebellion dramas –- known as the Sun Tribe films –- that came to be among the studio’s biggest earners during the late 50s and early 60s.
Like many of my stories, this one starts out with a girl. Nice girl. Well, not that nice. Something of a catch. We were lying around in my apartment in some state of undress or other — not because we were in the throes of passion, but rather because it was Florida in August, and my air conditioner was broken. Such extreme heat and humidity can make one shed one’s modesty as quickly as one sheds pants or shirt. We were watching something dreadful and delightful, as we tended to do. In this case, it happened to be a low-budget exploitation film called Death Curse of Tartu. At the time, I was still young and not so wise in the ways of obscure movies as I am today, so I didn’t know anything about the movie, the director, or the robust little Florida film industry of the 1960s that produced it. But once the movie started playing on my epic 10-inch TV, something strange happened during the credits.
“That’s my step-mom!” my friend exclaimed.
In recent reviews, and as we continue to discuss movies based on the literary works of pulp horror/sci-fi author HP Lovecraft, the names Brian Yuzna and Stuart Gordon have popped up a lot. More specifically, the title Re-Animator keeps getting dropped into impolite conversation. The team of Gordon and Yuzna have enjoyed considerable acclaim from fans for their adaptations of Lovecraft material and for their ability to take Lovecraft’s work and make it something new without losing the essence of what made the story work in the first place. They did this in a number of ways, but probably the wisest decision they made was to confine themselves to the periphery of Lovecraft’s bibliography, selecting lesser known and all-but-forgotten stories rather than Lovecraft’s best known and most beloved. The first of the author’s story the duo chose to tackle was Herbert West, Re-Animator.
HP Lovecraft, much discussed pulp horror author and Woodrow Wilson lookalike, was either born or transferred into this world from a watery beyond in 1890 in Providence, Rhode Island. His father, a traveling salesman, went insane as a complication of syphilis when young Howard Phillips was but three years old, and the elder Lovecraft was confined to a mental hospital until his death in 1898. Sickly and somewhat unstable as a lad, HP Loevcraft showed a knack for writing (poetry, mostly) despite the fact that he spent little time in school. He was raised by his mother, aunts, and grandfather, and it was his grandfather who first read old gothic horror stories to HP. His mother disapproved, fearing that the stories would upset the child, who already suffered from, among other things, night terrors. Lovecraft’s academic studies, such as they were — he dreamed of becoming a professional astronomer — were stymied by his inability to do well in higher mathematics. Upon the death of his grandfather in 1908, the Lovecrafts hit upon hard times. The family moved into a smaller home, and Lovecraft led a nearly hermetic existence, his mother being more or less the only person with whom he spent any time.