During the 1970s, Japan’s Nikkatsu Studio became famous, and yes most likely infamous, as the number one home for sleazy sexploitation, violent pink films, and just softcore porn in general. Although hardly the stuff of highbrow cocktail party conversations, the thoroughly exploitive nature of the Nikkatsu films doesn’t mean there wasn’t a lot of boldness and innovation thrown into the mix, resulting in more than a few highly enjoyable and daring films. Yeah, there was a lot of crap, but there’s always a lot of crap, and usually even the crap had something about it that was so bonkers and just not right that you couldn’t help but nod your head in its direction. In other words, where as Europe during the 1970s was constantly making ponderous, over-inflated films that begged the question, “Is it art or is it porn?” Nikkatsu was more concerned with generating the answer, “I don’t know if it’s art, but it sure is cool.”
There was a period, brief but never the less real, when we paid to see television shows in the theater instead of watching them for free on, you know, television. This started back when some crafty producer would take a couple episodes of a TV show and splice them into a single movie — even if the plots of the two episodes had almost nothing to do with one another. And in 1979, producer Glen A. Larson managed to get not one, but two pilot episodes released as feature films. Granted, these were substantially expensive and ambitious (in their way) pilots, but still. He was asking people to pay money to see something they’d see for free at home. He was able to do that because of Star Wars. And we did it. I did it. The first of them was Battlestar Galactica. The second was Buck Rogers in the 25th Century. When I saw them both in the theater I remember liking Battlestar Galactica, but Buck Rogers? Buck Rogers I loved. And years later I still love it. This movie/television pilot is also the reason I discovered Santa Claus doesn’t exist.
When one possesses tastes such as I do, one often assumes that one will find oneself standing alone in a vast sea of people who think one is mad, completely mad. If the Internet has taught me one thing other than there are a lot of blogs maintained by people’s house cats, it’s that you’re never so alone as you think you are. No matter how obscure or out of the mainstream your affection for a particular something may be, chances are very good there are multiple discussion boards, tumblrs, and websites dedicated to defending and celebrating whatever that thing may be. Heck, by Internet standards furries, scat freaks, and people who like to watch monkeys stick their fingers up their butt then sniff them and fall over are mainstream. And yet even in this glorious netherworld where everything is acceptable and nothing is beyond the realm of defensibility, there are rare occasions when I still feel cold and alone in a world that regards me with a suspicious and disgusted eye. Such is the case when I offer up the opinion that Italian science fiction films are “pretty good.”
No genre is so simple that it’s well suited by being made a genre, just as no individual member of a race is justly served by being made part of said race. But in the quest to classify or define easy descriptions, these broad-sweeping categories are the best we people can come up with. It is a concept that dismisses any sense of variation or individuality, and while I admit that generalization is often a necessity for making it through everyday life, it’s also a big part of why we tend to miss out on so much wonderful stuff. Take the Spaghetti Western, for example, or the Western, since that’s how most people tend to see it. I can’t even begin to process the number of people I’ve spoken to who hate Spaghetti Westerns even though they’ve never seen one. They equate the Western with polished American films, with John Wayne or Gene Autry, or they simply hate country music, thus they hate cowboys, thus they hate Westerns. An entire genre of film is then dismissed despite the fact that there are hundred of films that break the mold, that would prove entertaining to these people if they could only get over the fact that the people in them are from the wild west.
I’m going to have to cram a bunch of history up front in this review, so if you already know most of it, please forgive me. I feel it sets the stage properly for those among you who aren’t nerdy enough to have a vast and swelling knowledge of the ins and outs of British censorship efforts, Italian slasher-thriller movies, and the joyous day those two tastes were plunged together into a scrummy treat known as the “Video Nasties” list. Let me first take back to a time when Samantha Fox was still a fox (maybe she still is; I haven’t seen her in years) and the world was just beginning to discover the pleasure of home video systems. England has always had a somewhat contentious relationship with cinema censorship, and certain types who like to get upset over idiotic things were worried about the fact that the rules governing the rating, licensing, and editing of films for release to British theaters had not been written in a language that would allow them to be applied equally to films distributed on video. This little lapse in the foresight of censorship laws to anticipate the invention and subsequent wildfire-like spread of VCRs meant that films previously cut or banned could be legally (more or less) distributed in uncut format on videotape. It seems like they could have solved this dilemma by simply adding “and videos, too” in biro at the end of the book of law, but that’s not how England does things.
Honey Britches has so many things going wrong for it that you can’t help but look at it as a work of fine art. I mean, this is the sort of movie you watch and think to yourself, “Gee, with some formal training and more money, this director could be as good as Hershel Gordon Lewis.” The film opens with “credits painted on a wooden fence,” which I soon found to be the most popular opening credits style for ultra low-budget hicksploitation films, usually accompanied by banjo music or random sounds of pig squealing — sometimes both. It is during these credits that you realize the theory about the director one day being as accomplished as HG Lewis are just fantasies, because up comes the name Fred Olen Ray. Well, up comes his name in certain versions. In other versions, his name does not appear, and we’ll explain why in a spell.
I had to watch this movie more than once to verify that George Lazenby actually has more dialog than just, “Hmm? Hmmmmm,” mumbled with that smug chin-in-the-air look as if to say he has discovered something important and must now jut forth his chin and stroke it slyly. Who the hell does he think he is? Mr. Bean? He does have a few other lines, but for the most part, he just hums through the whole movie. I know this isn’t the best way to kick off a review, but come on! Speak, damn you! This isn’t Quest for Fire.
Kaiju films were old hat in Japan by the 1970s, but elsewhere in Asia the giant monster film industry was only just getting going. Inspired by Japanese movies like Godzilla and, even more so, television shows like Ultraman and Kamen Rider, aspiring (or canny) filmmakers (or hucksters) in Thailand, Hong Kong, and Korea decided they too would pit their cities against giant monsters and invading aliens against super-sized superheroes. South Korea was among the first kaiju copycats out of the gate with 1967’s Yongary. Because it’s Asian and features an irritating little kid in tiny shorts and a dinosaur-like giant monster, most people chalk it up as a Godzilla clone. It has far more to do, though, with that do-gooder crusading giant turtle Gamera and, in my opinion, even more to do with Western rip-offs of Godzilla and Gamera, like 1961’s Gorgo. Eh, whatever the case, a dude in a rubber suit was kicking over buildings and swatting model jets out of the matte painted sky much to the delight of all.
World, you spoil us. No matter how much we’ve seen — and we have seen a lot — you always have something else waiting in the wings to delight and make jaws hang slack. Martial arts films are especially fecund soil for stories that operate in the far margins of loony concepts, made all the stranger by the fact that the most surreal and outrageous scenarios are usually handled with the utmost banality of attitude, as if Chinese skinheads kidnapping Abraham Lincoln during World War II is the sort of mundane shit that happens every day. What’s more, there’s something so astoundingly crackpot in the sorts of weirdness with which these films confront the viewer that it’s difficult to fully grasp the sort of thinking that led to such ideas in the first place. This is an honest, sincere wierdness, not the same as, say, the sort of predictable, labored, and juvenile weirdness of a Troma film or one of the endless stream of Japanese splatter-comedies that plague the exploitation film market of that once proud industry. The sort of mind that dreams up, “how about she’s a naked schoolgirl, and then a chainsaw shoots out her butt?” I know people rank that high on the “what the hell?” meter, but to me it’s a very rote sort of goofiness, the kind of thing that any decently perverse or stoned teenager would dream up.
Blue Movie Blackmail is known by a variety of names, the original being Si può essere più bastardi dell’ispettore Cliff? My Italian is nonexistent and Google Translate isn’t exactly helpful (“It may be more bastards Inspector Cliff?”), but I think the general gist of the name is something like ‘Is anyone more of a bastard than Inspector Cliff?’ When eventually looped into English (in a few cases by the Anglo cast themselves) it was released in the USA as the somewhat baffling Mafia Junction and in Britain as the rather more accurate Blue Movie Blackmail. It does also have the distinction of being shot mostly in London, so I may be able to relate some interesting titbits as a resident of these parts.