I have a friend who is a huge, HUGE World War II history buff. My Dad is similarly fascinated with that conflict, so between the two of them, I have picked up a certain smattering of interest in the terrible events of 1939-45. Not much, but enough to get highly annoyed at my fellow countrymen who only remember we ever had a war during international sporting matches to reinforce their own xenophobia. Enough to be able to tell the difference between a Spitfire mk I and, um, other types of Spitfire. Enough to know that the snazzy B3-style flying jacket I recently acquired is of the sort worn by B-17 bomber crews, and is somewhat inaccurate because it has two pockets instead of the correct one. Enough to come off as an enormous nerd, in fact, without the swathes of useful, in-depth information that makes being known as an enormous nerd worthwhile. I do though like to think I cut quite a dash in the sort of clothing once worn by the crew of the Memphis Belle. Speaking of which (see what I did there), if you go to the Imperial War Musem Duxford, you’ll see a B-17 named Sally B. This is the last airworthy B-17 in Europe and, in fact, starred in the 1989 movie Memphis Belle as the titular aircraft. Today she still has the rather demure nose art of that famous plane on one side, and her own sexy naked lady (the original Sally B, we assume) on the other.
Movies try to evoke a wide range of emotions and reactions from their viewers. Shock, delight, sadness, joy, despair — in the century or so that humans have been making movies, the bag of tricks film makers use to manipulate our emotions has become large indeed, and the range of emotions and experiences movies seek to simulate has grown to encompass pretty much everything we’re likely or unlikely to ever encounter in real life. There are, however, a few mental states and experiences that, while a movie could potentially ask us to invest ourselves in, it probably shouldn’t. At the top of my list of experiences I don’t need recreated for me by a movie would be the frustrating tedium of phone-based customer support.
Indian spy movies from the 60s tend to be delightful despite themselves. The typical Bollywood film’s emphasis on communal values and lack of irony made them ill suited for portraying the kind of smirky hedonism so often displayed in Western examples of the genre. As a result, big budget, mainstream espionage thrillers like Aankhen featured mother loving, teetotaling heroes who stood out against such decadent trappings as almost a kind of rebuke. Meanwhile, in the genre ghetto of India’s B movie industry, attempts were being made at churning out spy films that hued a little closer to the European model. Unfortunately for these films, while the attitude might have been there, the cash wasn’t. Given that, the end products were frequently films that tested the notion of just how sparely represented the basic tropes of the spy genre could be in a film without it falling short of being a spy film at all.
The Devil’s Man is a really quite odd — not to mention staggeringly cheap — little Eurospy film from director Paolo Bianchini, the man who spoiled Superargo for everyone with his limp sequel to Superargo vs. Diabolicus, Superargo and the Faceless Giants. It’s one of those Italian genre films in which the actors walk through it as if in a dream, reacting to situations in ways that no human being ever would simply because that is either what the script required of them or because they were given no direction as to what a more sensible course of action might be (ad libbing was obviously outside the pay scale). Remember that scene in Nightmare City where the woman quite improbably stands stock still and screams while a zombie pokes her eye out with a stick just because that was what was required in order to pull off the cheap prosthetic effect? Well, I was going to say that that is representative of the degree of logic informing The Devil’s Man, but, on second thought, that at least makes sense on some level.
I tried real hard, Circadian Rhythm. I tried real hard to like, then tolerate, then at the very least, appreciate on some level what you were doing. But in the end, I just couldn’t pull it off. There just wasn’t any salvaging this date, and although you were cute and I liked your glasses and haircut, and I respected that you were trying to be sort of weird and different, I don’t think we should have a second date. Circadian Rhythm, in case you haven’t heard about it, is…well, almost a total mystery. It’s not surprising if you’ve never heard of it. Despite starring a number of people who went on to healthy careers in television, and despite the fact that the internet will write in depth about almost anything no matter how terrible and low budget, Circadian Rhythm is either almost totally ignored by the types of people who would usually review a movie like Circadian Rhythm, or there are reviews but they’re buried under thousands of search returns for actual medical and biological articles about circadian rhythms, those biological clocks that keep the bulk of society waking up and going to bed at roughly the same time.
If Neon City is an example of American-made post-apocalyptic science fiction that strives for a more realistic, bleaker tone than is usually seen in Road Warrior rip-offs, then Cherry 2000 is a very interesting companion piece that comes from the opposite end of the spectrum. It envisions a future not terribly different from the one in Neon City — in which some manner of apocalyptic disaster has left large swathes of the United States lawless and scoured, while pockets of urban civilization seem to chug along despite the blight surrounding them — but where Neon City is an exercise in bleakness and some cursory attempt at realism, Cherry 2000 gleefully embraces all the excess, quirks, and questionable art and design decisions that embodied the 1980s, resulting in a film that comes across sort of like a post-apocalypse film as imagined by Patrick Nagel.
By the time the 1990s rolled around, I think everyone had given up on Rutger Hauer becoming some awesome super cool megastar, and “everyone” included Rutger Hauer himself. On the one hand, that’s too bad, because there for a while, he was a genuinely cool dude, good looking and charming but with something cruel and disturbing about him. There was no wonder a lot of the spooky ladies (and a fair number of lads) with whom I hung out with back in the day were loopy for Rutger. I’m pretty sure we had plans, at some point, to make a movie featuring Roy Batty in his little leather booty shorts from Blade Runner teaming up with Sting’s Feyd Rautha in his little metal thong thingie to… I don’t know glisten as they traveled from town to town, solving people’s problems.
The Greatest Movie Ever! podcast invited me on to stammer and giggle and eventually be edited into some semblance of coherence — or at least as much coherence as can be wrung from the colossally oddball Howling 2: Your Sister is a Werewolf, movie as famous for it’s depiction of Christopher Lee in new wave sunglasses as it is for Sybil Danning’s werewolf orgy.
Ahh, Ruggero Deodato. Is there anything he can’t make weird? Although best known for cannibal atrocity films like Cannibal Holocaust, Deodato was no different than any other workhorse of the Italian exploitation industry, in that he worked in pretty much every genre that required exploiting. He made cop films, kiddie films, sword and sorcery films, horror films, sexploitation, and in the case of Raiders of Atlantis, a film that manages to steal from both Road Warrior and Raiders of the Lost Ark, and maybe a bit of Seatopia from Godzilla vs. Megalon, in a way that keeps the end result unique despite the lack of originality in its individual parts. Deodato certainly keeps his genre films offbeat, if nothing else.
These days, it seems like Japan makes about five zombie movies a week, each one more half-assed and dreadful than the last. Once, long ago, when Italy and the United States had lost interest in the zombie film, Japan decided to start cranking a few out. They started out modest but promising, and by the time we got to Wild Zero and Versus, I do believe that I naively exclaimed that the zombie film was well served by Japanese stewardship. Then they made Stacy, and I started to wonder if maybe I had celebrated prematurely. A few years ago, the United Stated rediscovered the zombie film, and zombies themselves became a pop culture phenomenon that ultimately degenerated into hipster zombie parties and zombie olympics and such. Japan wasn’t going to miss out on things, and a whole slew of cheap, new Japanese zombie movies were soon flooding the market. They were and continue to be high on wackiness and low on watchability, pretty much like their microbudget counterparts in America.