When last we left the dastardly, skeleton-suit clad Kilink — self-proclaimed King of Rogues and master of all evil — he was in his secret island lair (well stocked with randomly placed and artfully-posed bikini girls), casually bragging about his super-weapon (a rickety looking laser gun) while harassing a scientist and the scientist’s beautiful daughter, who just happens to be the fiancée of a man whose scientist father was previously murdered by Kilink, causing the man to swear vengeance and thus be granted super powers and a bad costume by a crazy hobo in the cemetery.
When last we tuned in, skeleton motif-clad fumetti anti-hero Kriminal was skyrocketing to fame, and in doing so, seeing the nasty edge that had made him so popular and controversial (so it is possible to be banned in France) softened somewhat to make him more palatable to a wider audience. But no worries, because even as Kriminal began to only kill a lot of people instead of a whole lot of people, another character in basically the same skeleton get-up arrived on the scene to make sure that critics and censors were still incensed by the make-believe actions of a grown man wearing a novelty skeleton body stocking. That hero — and by hero, I mean psychotic mass-murdering terrorist — was known appropriately enough as Killing.
Ten years into his film career, Santo had already faced off against zombies, witches, mummies, mad scientists, vampires of both the male and female variety, hatchet-wielding ghosts, homicidal table lamps, and Martians. So it was only a matter of time before the denizens of Atlantis got to the front of the queue. When that time came, Santo would also find himself mixing it up onscreen for the first time with one of his greatest adversaries from — and I use the term advisedly — the “real world” of lucha libre. And just who would that adversary be? Well, I could try to be coy about it, but the journalistic specificity of Santo vs. Blue Demon in Atlantis‘ title would render the effort redundant.
Seeing Diabolik was — well, to call it life-altering is to be a bit overly dramatic, I think. But it was something like that, and the movie did have a curious influence on me. For years, there had been this certain look and style of movie playing in my head. I knew it existed, but I had no clue where to start looking for it. Keep in mind that this is some years before the widespread adoption of the World Wide Web, DVD, and the rise of digitally remastered two-disc special collectors’ editions of Porno Holocaust. I knew these movies I wanted were very much like James Bond without being James Bond movies — sometimes a little cheaper, often more fanciful and outlandish. But just as in those disconnected days with a dearth of information I was unable to find a manufacturer or store where I could purchase a black, slim-cut three-button suit (I’m quite particular about such things), so too was I at a lost as to where I might find these mythical movies I’d invented in my mind and filled with go-go dancing Eurobabes and dudes in fezzes and sunglasses throwing stiletto daggers at each others’ backs.
My odyssey through the strange world of Russian fantasy films began in earnest many years ago, when I moved to a prominently Russian and Ukrainian neighborhood and started prowling around the DVD stores of Brighton Beach, Brooklyn. Up until then, I’d caught glimpses of this strange and wonderful looking avenue of cinema in the form of dubbed and edited American versions of the films, where Ilya Muromets became The Sword and the Dragon and Sadko became The Magic Voyage of Sinbad. These movies made regular rounds on broadcast television back when I was a kid, and I loved them without having any idea they were Russian fantasy films tailored by crafty American distributors to become nationless adventure spectacle. They were colorful, they were full of monsters, and they had lots of guys with swords running at each other. When I crept a little closer to old age, I decided I wanted to find the original versions of the films — much as I did with Eastern Bloc science fiction films — not just to see what had been changed, but also to see them in a better quality than I’d enjoyed on independent broadcast television with rabbit-ear antennae reception.
My introduction to Hong Kong cinema came in the form of a crash course between the years of 1991 and 1993, when I began to discover and voraciously devour a seemingly endless parade of mind-blowing films made in the past decade. Finding the movies was hard. Finding information on them was even harder, but there was an explosion in the popularity of these films among cult film fans in the United States around that time, so though it took some leg work, we soon found that we were not alone. Together, then, we stumbled through the dark, trading tapes, raiding Chinese grocery stores that stocked videos, writing reviews for one another, publishing fanzines, and doing our best to spread, pre-internet style, every scrap of information we were able to dig up on these amazing movies. In the course of two weeks (maybe less), I think a few friends and I huddled around my massive 10-inch screen TV and watched A Better Tomorrow, The Killer, Swordsman, Zu, Once Upon a Time in China, and A Chinese Ghost Story. We sat there another week and just drooled. Though I love each of those movies, there was something about the elegance, beauty, and melancholy of A Chinese Ghost Story that made it stick out as my favorite of the time. Decades later, it’s still one of my absolute favorite movies.
60s garage rock is my preferred late night listening, offering a pleasurable chill deeper than that provided by the usual combination of challenged fidelity and ennobling obscurity that I find in other vintage recordings. It truly seems like something was haunting the garages of suburban America during the mid-60s, as if white teenagers, unable to pull off the perceived sexual menace of the black bluesmen they sought to emulate, instead turned to more accessible models, such as those found in B Movies and horror comics. As examples, there was the night stalking, vampiric image of groups like the Count Five and the Shadows of Knight, the Standells’ smirking shout-out to the Boston Strangler in “Dirty Water”, and David Aguilar growling like a ghoulish master of ceremonies over the hellish abyss of reverb and indecipherable backing vocals that was The Chocolate Watchband’s “Let’s Talk About Girls”. And then, of course, there was The Sonics’ “Psycho”, a proto-shock rocker that was also one of the most unaffectedly savage punk singles of its, or any, era.
Samurai films have a curious knack for expressing compassionate, humanist ideals via soul-crushing bleakness and violence. One would be hard-pressed to find a bleaker, more violent indictment of the romance of the samurai — and the culture of violence in general — than director Tai Kato’s blood-drenched and aptly named Brutal Story at the End of the Tokugawa Shogunate. This is samurai drama stripped entirely of any pretense, robbed of the myth of the noble samurai code, and devoid entirely of any sense of heroism. In the eyes of this film, the samurai of the historic Shinsengumi clan are brutish exploiters and backstabbers at best, and murderous, paranoid psychopaths at their worst. The Shinsengumi were an actual group of samurai, charged with keeping the peace in Kyoto and defending the Tokugawa Shogunate from threats both foreign and domestic — this being the period in which Japan had finally been pried open to contact with the Western world. In popular Japanese culture, the Shinsengumi have been portrayed as everything from heroic defenders of the Japanese heart to thuggish throwbacks mercilessly defending their own power at the expense of progress. Brutal Story at the End of the Tokugawa Shogunate is a particularly harsh look at them and at the entire concept of samurai.
I am breaking little new ground when I point out that the original 1954 film Godzilla was a serious sci-fi horror film that is taken seriously by serious critics (seriously!), even the more annoying ones who usually refuse to give genre films the time of day. Few people would argue that it was a cinematic milestone, that it was to the crossover scifi/horror film what Citizen Kane was to movies about grumpy newspaper moguls and what Pee-wee’s Big Adventure was to the road trip film. Whatever the franchise may have become, Godzilla’s contribution to film history was as big as the monster itself, and not even Michael Medved will argue that one. Or maybe he will. I don’t really know him personally, so I can’t account for him.
Austrian writer and director Rudolf Zehetgruber had two shots at the Kommissar X franchise, and Death is Nimble, Death is Quick, the second entry in the seven film Eurospy series, was the first of them. It’s a commendable, if not especially controversial effort on his part, although, thanks to a particular directorial quirk it revealed, it has resulted in me becoming damn near obsessed with the man. In my review of Death Trip, the fourth Kommissar X film, I described how Zehetgruber, the director and writer, inserted himself – i.e., Zehetgruber the actor — into the action, casting himself as a sort of all-purpose deus ex machina who single-handedly bridged an impressive array of narrative gaps and plot holes.