“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.
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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.
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“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.
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Aleksey Nikolayevich Tolstoy was Russia’s less internationally known Tolstoy. While the one was writing thousand-page tomes about sad people losing things (pretty sure that’s the plot of most Leo Tolstoy books) that would be forced upon generation after generation, the other Tolstoy was writing slick science fiction adventures like Aelita (1923, adapted into a movie a year later), Engineer Garin (1924), and Count Cagliostro, which American high school students did not get to read, since there was no time left after plodding through Anna Karenina — in which absolutely no one travels to Mars, builds a death ray, or practices alchemy. To be fair to Leo Tolstoy though, it’s been twenty-six years since I read Anna Karenina, and all I really remember is a chapter where two rivals for the love of the title character retire to a nearby barn to try and outdo one another in feats of gymnastic prowess, and I may even be getting that wrong. In fact, I think much of what I remember of Anna Karenina is actually Great Expectations. I am, however, quite certain there was no death ray.
Continue reading Mad Science and Martian Maidens
I have a new Frolic Afield up on The Cultural Gutter: The Gentleman Adventurer takes a look at the BBC series Adam Adamant Lives! A swashbuckling Edwardian gentleman, quick with his cane-sword or a witty retort, is frozen in time and revived in swingin’ sixties London, where accompanied by his go-go girl sidekick, he immediately resumes his life of adventure and crime-fighting. Yes, they truly did pull an entire plot right out of my mental wish list.
On August 4, 1914, Germany declared war on and subsequently invaded Belgium, a declared neutral in the escalating conflict between France, Russia, and the allied countries of German and Austria-Hungary. Europe at the time had been spoiling for a war, and the Byzantine tangle of pacts, treaties, and agreements ensured that it was only a question of when, not if, the entire continent would find an excuse to kit up and march off to battle. That excuse came in June of 1914, when Archduke Franz Ferdinand was assassinated by Serbian radicals. And so the dominoes fell. Austria-Hungary declared war on Serbia. Serbia was allied with Russia, who had no choice but to declare war on Austria-Hungary. Germany was allied with the Austro-Hungarian Empire and so declared war on Russia. France, which had treaties with Russia, thought about staying neutral in the matter, but that became a moot point when Germany declared war on them, launching an offensive that bulldozed its way through Belgium en route to France and brought the United Kingdom into the war as a result of a pact Britain had with Belgium.
Continue reading Oh, What a Lovely War
His names are legion. His name is Legion. But maybe you know him as Scratch, or Ol’ Gooseberry. The Devil himself, if you will. He’s one of the most compelling literary figures of all time, despite, I imagine, the original intentions of the writers of the Old Testament. Poet John Milton turned the Devil into a brash anti-hero in Paradise Lost, and for many intellectuals who see religious fundamentalism as stifling to the pursuit of knowledge, he’s remained in his cool cat corner with lots of stories being written about him. Something about Lucifer lends to storytelling. It’s his unpredictability, perhaps. You never know if you’re getting the wretched evil Devil or the suave rebellious one. Or the witty one or the comedy one. With Jesus, you pretty much know what you’re going to get: Jesus. It’s not that there’s anything wrong with Jesus — Christian or not, you can admire some crazy dude from Nazareth who took on both the Romans and the religious establishment, told people not to submit to a corrupt priesthood, and then said you shouldn’t always be bashing each others’ heads in. But where do you go from there? That’s why the only people who ever tried to write the further adventures of Christ were the Mormons.
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The phrase “in the wake of James Bond’s success” is probably the single most over-used phrase in any examination of the flood of spy films that flowed freely onto screens worldwide in the wake of James Bond’s success. Unfortunately, facts are facts and while the Bond films certainly were not the first espionage thrillers to grace the silver screen, they remain to this day the most popular and influential. While many of the films that followed Dr. No and From Russia with Love were very different from those two seminal Bond movies, there’s little doubt that Bond opened the doors, paved the way, and made producers a lot more interested in green-lighting spy movies. Nowhere was this truer than in Europe, where spy mania swept the continent and resulted in hundreds of espionage and caper films taking full advantage of the wealth of gorgeous European locations and equally gorgeous European screen sirens.
Continue reading Deadlier than the Male
Frolicking Afield over at the Gentlemen’s Blog to Midnite Cinema again, the official companion to the Gentlemen’s Guide to Midnite Cinema podcast. And this time I’m talking Antonio Margheriti, James Bond rip-off Eurospy films, and Lightning Bolt, a thriller in which the hero tries to avoid conflict by offering to pay his nemesis off, then asks if it’s OK if he pays by personal check.
There’s a problem often faced by those of us who chose to both watch and write about the Eurospy films of the 1960s: as enjoyable as they can be, and fun and breezy and cool, there is often very little that can be said about them in the form of an article. When you try to put finger to key and review one of these movies, you suddenly realize just how much of its run time — which was probably under ninety minutes to begin with — was taken up by fluff and filler. Travelogue footage, nightclub scenes, guys just walking through hotel lobbies while swinging music plays — all great stuff, but the visual appeal of these de rigueur accoutrements of swingin’ sixties spy cinema doesn’t often translate to having very much to say about a film, even when you’ve enjoyed it. Such is the case with Ypotron, a light and airy espionage adventure with sci-fi elements and almost no interest whatsoever in its own plot, so enamored is it instead with low-budget globe-trotting and extremely large hats.
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