Eddie Romero is an important figure in the history of U.S. – Philippines relations, or at least he is to the extent that U.S. – Philippines relations depend upon the import and export of quality drive-in fare. As a producer and director, Romero pioneered the practice within the Filipino film industry of tailoring product for the American market, usually with the participation of American producers. Who knows what butterfly-effect-like calamities might otherwise have befallen our great country, denied exposure to the films in Romero’s Blood Island trilogy, or his classic WIP picture Black Mama, White Mama? The mind positively reels.
There was nothing about the old VHS box for Shaolin Invincibles that made us think we were renting anything other than a standard “kungfu orphans get revenge on villains who murdered their parents” story. We plucked it from the shelves because, well, why not? We were up for renting anything that wasn’t Unique Lama. By the time Ocean Shores video splashed that bright red “The End” graphic onto the television screen, we’d seen tongue-waggling ghosts, bug-eyed zombies, and that most treasured of kungfu film appearances — the kungfu gorilla. I won’t say that the impact of Shaolin Invincibles on our mental faculties was as pronounced as it was after watching Young Taoism Fighter for the first time, but that’s a pretty high bar to set.
Jimmy Wang Yu was one of the most colourful figures ever to emerge from the Hong Kong movie scene. He made his debut in Temple of Red Lotus in 1965, but it wasn’t until a couple of years later that he became a megastar. The vehicle was Chang Cheh’s film The One-Armed Swordsman, a movie that gave birth to a new, bloodier and more anti-heroic trend in Hong Kong movies. Jimmy played the main character Fang Kang, a man who loses an arm and then has to learn a devastating one-limbed sword style. The film was so successful that it spawned an official sequel Return of the One-Armed Swordsman in 1969, also directed by Chang Cheh. Then in 1970 Jimmy appeared as The Chinese Boxer, in a movie considered to be the first ‘real’ kung fu film, beating Bruce Lee’s The Big Boss to Hong Kong screens by a year. But the one-armed swordsman persona wouldn’t leave him, and in 1971 he appeared in Shaw Brothers’ collaboration with Japan’s Daiei Motion Picture Co. Zatoichi Meets the One-Armed Swordsman, the 22nd entry in the popular series about a blind Samurai played by Shintaro Katsu.
I have a shocking confession to make: I don’t own many movies featuring dwarves. When our fearless leader Keith suggested submitting a review to the little people roundtable, I was forced to confront this deficiency. A couple of my kung fu flicks might feature cameos by short actors, and sure I’ve got the Weng Weng spy epics, but those are already well served by reviews here. Willow? Too obvious. Seven Dwarfs to the Rescue? Too awful — and given the venerable members of the B-Masters, one that’s quite possibly been covered elsewhere. So I have been forced to fall back on a movie from my home country of Great Britain’s 1970s, one which resides variously under the titles The Monster, I Don’t Want To Be Born, Sharon’s Baby* and A Colossal Bag Of Concentrated Suck (one of these might not be real).
Nostalgia. It’s a dangerous thing, especially when applied to something you haven’t encountered for over 30 years. Take, for example, my favourite TV show as a kid; I lived and breathed The Six Million Dollar Man. I had two different Steve Austin action figures (one with a grippy hand, one without), a rocket ship thing that folded out into a bionic surgery table, some sort of evil robot with a claw and interchangeable face masks*, and even a Jamie Sommers action figure (it was not a doll. Shut up. SHUT UP!). I would spend hours during school playtimes attempting to run in slow motion while making the nininininini…. noise. I’m sure I looked like a complete buffoon, but I didn’t care.
There is perhaps no other filmmaker who is as devoted in his opposition to subtlety as Indian director K.S.R. Doss. While I’ve fallen hard for Doss’s comic book world of kung fu cowgirls, thunder crash aided exposition, and careening camera angles over the past couple of years, it’s certainly not the place to visit if you’re looking for something that smacks of nuance or delicate shades of meaning. Doss (or “Das”, as it’s also written) hasn’t thus far received a lot of coverage from the English language blogs and sites dealing with Indian popular cinema. For one, his films, most of which were made in the 1970s, are just not that easy to come by. Unsubtitled VCDs or gray market DVD-Rs are about your only option in that regard, and even so, what’s available represents only a small fraction of his output. His obscurity is also in part due, I think, to him being more associated with the Telegu language cinema of Southern India than with the more widely recognized Mumbai-based Bollywood film industry.
On occasion, we here at Teleport City are accused of being, perhaps, not the most discerning of viewers, susceptible to pretty colors, flashing lights, and naked flesh that blind us to the fact that a movie might otherwise be one of the most atrocious pieces of crap ever made. Frustration can occur when someone looks to us, sees us shrug and go, “It seemed all right to me,” and takes that as a recommendation that eventually winds up with them writhing on the floor, clutching their head in agony as they succumb to the mind-melting wretchedness of a movie I thought wasn’t really all that bad. I can’t say I have done such things with a completely clear conscience. I may have mislead a few people into thinking the Star Wars Holiday Special was going to be hilariously awful instead of just regular ol’ boring awful. But for the most part, it’s true that I enjoy a lot of really terrible movies that I recognize other people probably should not watch. And the sad, sick thing is that I don’t enjoy these movies with any sense of ironic detachment or “so bad it’s good” emotional distance; I genuinely enjoy Treasure of the Four Crowns.
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.
Dynamite Johnson is pretty much a textbook example of a filmmaker proving his exploitation acumen by making the most of both his resources and concept. “What textbook?,” I hear you ask. “Where can I get it? Will I be tested on this?” Shut up. No such book exists. But if it did, you could certainly do worse than having Filipino producer, director and writer Bobby Suarez as its author.
When the idea was pitched for a “counter culture” theme for a B-Masters Round Table, I was both excited and apprehensive. On the one hand, it was a subject with which I had acute first-hand experience, which meant I wouldn’t have to rely simply on theory and supposition to extract some sort of a review from the material. I could ramble on endlessly about some obscure thing that happened to me back when I was sixteen and the world was new. I was, however, also apprehensive, as I am sometimes loathe to throw myself into public discourse regarding the counter-cultures with which I have some connection. Not because I’m ashamed, mind you. Hell, I’m still associated in some way with pretty much every loony thing I ever believed in or adopted as an identity. But I’ve read a lot of the “studies” about these things.