The Pinky Violence films of Norifumi Suzuki represent one extreme of the tendency of Japanese exploitation films of the seventies to combine a very high level of craftsmanship with an unflinching preoccupation with human behavior at its most sleazy and mysteriously perverse.
In retrospect The Land that Time Forgot would have been a poetic place for Amicus to end — with volcano erupting, boat sinking, and its stars facing a seemingly hopeless situation. Instead, they decided to show us the aftermath of the collapse, and give us Milton Reid in a skimpier outfit than Sarah Douglas.
It looks beautiful, the actors and the characters that they play are incredibly appealing, the action is wonderfully staged and literally non-stop, and the atmosphere is so rich with romance and intrigue that it’s enough to send you into a ninety minute swoon.
Sadhana would get her wish and be remembered as a heroine, even though the most indelible image to be taken away from the film might not be so much one of her heroic exploits as it would be her being whipped while wearing a white mini and go-go boots by a guy who looks like a Village People version of a medieval blacksmith.
There’s just something about the combination of the Western genre’s Spartan, rough-hewn aesthetic with Bollywood’s tendency toward the exuberant and phantasmagorical that I find hard to resist. If you want to join me in this new obsession, Kaala Sona is certainly a good place to start.
Aside from plenty of fun dinosaur and caveman adventure, The Land that Time Forgot offers up really one of the most downbeat and apocalyptic endings of any movie aimed at kids.
Realizing that I was witnessing something completely weird, I threw a tape into my VCR and recorded about 70% of the film. It became one of the most cherished gifts I ever gave my stoner buddy Ken. But I can’t even play the ‘dude, I was so wasted’ card, because I was stone cold sober at the time
To judge the film by its shortcomings would be unfair, because the charms that would mitigate them — all of those things that are wonderful about Insee Thong — are less easy to fully appraise.
Ultraman was very popular in Thailand, and in 1973 Sompote Saengduenchai approached Tsubaraya Productions with the idea of co-producing a series of films that would team their heroes with figures from Thai folklore and mythology.
As such, it can simply use it’s resemblance to those other films as a terse signifier of those themes (the fetters of family honor, the value of friendship and community, etc.), while it goes briskly about its real business of being a violent and somewhat trashy little potboiler.