Most folks cite the slick gangster film A Better Tomorrow as the breakout film for both director John Woo and actor Chow Yun-fat. And that is, in part, true. It was the film that made them both household names (Chow far more than Woo, at least at the time, when the name of a star was much more important than the name of a director), and it spawned hundreds of imitations. Where Jet Li’s Shaolin Temple made mainland Chinese kids want to quit school and go join the Shaolin Temple, A Better Tomorrow made Hong Kong kids wear Ray Bans and overcoats and quit school to join triad gangs. Woo the Christian pacifist must be really proud of that.
In recent years, pop culture fascination with the end of the world has resurfaced after years of dormancy during which we were all enjoying the good ol’ years of Bill Clinton, the dotcom industry, and a relatively peaceful time as long as you ignore that whole Balkan thing. Yeah, we might have used a giant asteroid to destroy Paris just for kicks from time to time, but when it comes down to ending the world, we pretty much became disinterested during the 1990s. The end of the Cold War seems to have dashed our post-apocalyptic fantasies. Gone were the days of an Evil Empire and a Red Scare. Gone were the days when middle school youths would organize themselves out in the woods to build a bomb shelter that would eventually evolve to resemble a foot deep hole covered by a sheet of warped plywood.
If you are familiar either with me or with my work on this site, it probably comes as no shock that I rank Gymkata as one of the most valuable players on an amazing and occasionally sparkly team. I’ve been pushing this movie on people for decades, armed at first with little more than my cherished VHS copy in its oversized gray MGM/UA box. Since then, and much to my delight, Gymkata has become a touchstone of pop culture references. People know it, even if they haven’t seen it, and knowing, as you know, is half the battle. And while some people get irritated when something they’ve been name-dropping for years suddenly gets embraced by the larger mainstream non-mainstream society (Chuck Norris karate jeans being the most recent example), I bear no ill will toward those who are late in coming to Gymkata. Lord knows there are plenty of things for which I showed up late. I don’t consider it to be some secret to be guarded jealously and to the death by fanatic soldiers armed with weird masks, AK-47s, and scimitars. As far as I’m concerned, the more people who have the word “gymkata” on their lips, the better.
Sompote Sands is one of those figures in cult cinema who casts a long shadow. Granted it’s a shadow that twists around and warps into a demon like Calibos’ shadow in Clash of the Titans, but it’s a shadow never the less. Regarding the origin story of this supremely interesting and bizarre film maker, that was spoken to when we reviewed his Ultraman-meets-Hanuman epic Hanuman and the 7 Ultramen, so rather than paraphrase here, I encourage you to mosey on over and check that one out. The twisted saga of Sands’ relationship with and claim of stewardship over the work of Japanese effects pioneer Eiji Tsuburaya is one of my favorite film stories. For our purposes here, let us fast forward a decade or so, into the 1980s and a point where Sands had moved on from remaking Japanese superhero properties for the Thai market and had decided to indulge more substantially in his fondness for Thai mythology.
There are three Roger Cormans. The first Corman is the director Corman. Working primarily at American International Pictures, young Corman was famous for being able to crank out competent, successful films on time and under budget with a surprising consistency. Although Corman’s name is often associated with drive-in schlock, in my opinion most of what he made was, at the worst, adequate for the intended purpose of entertaining the teenagers. And on occasion, Corman directed some genuine classics of genre cinema. His Poe films with Vincent Price, for example, are some of the best Gothic horror films you’ll find.
You know how some people say if they go back in time and do it all over again, they wouldn’t change a thing? Well, I’m not one of those people. I would do a ridiculous number of things differently and space-time paradoxes be damned. Among the things I’d do differently, especially if I quantum leapt back to around 1986 or so, would be to tell myself not to be such a smug, condescending dickweed my then newly discovered punk rock lifestyle. But what can you do? I was fourteen and high on self-righteous non-conformist fury, certain beyond any sense of doubt that I had it right and everyone else was a poseur or mindless drone. And nothing set me off with a more fiery passion than when some dreg of mainstream entertainment dared play at having some sort of punk rock street cred. They thing they understand my world? Let me take you down to my world, baby, and show you what life on the wicked streets of Buckner, Kentucky is really like.
As we entered the 1980s and the dawn of the Reagan Years, we didn’t have much to worry about. Other than a recession, the ramping up of terrorism in the Middle East, the threat of nuclear war with the Soviets, and people popping the collars on their Polo shirts, things were pretty cool. With nothing to occupy our national sense of anxiety, we retreated into the realm of made-up, silly crap over which to fret and wring our hands nervously. The primary focus of our societal outrage and terror: heavy metal music. And more specifically, the role Ol’ Gooseberry played in its popularity. America’s collective hysteria over Satan and his sinister ability to seduce impressionable youths and bohemians into the folds of his cloven arms began in the late 1960s when hippies started dabbling in Occultism, witchcraft, sex magick and the occasional murder of Sharon Tate.
This is another one of those fragmented movie memories for me, where the only thing I could remember about it was “Amanda Pays turns into a fish” — and even that I eventually convinced myself happened in Leviathan. But when I rewatched Leviathan and discovered that Amanda Pays does not turn into a fish at any point, protected as she was by the power of Peter Weller’s rolled bandana headband, I knew I had to figure out which film it was where she did turn into a fish. Luckily, you type “Amanda Pays turns” into Google, and the first auto-complete that comes up is “Amanda Pays turns into a fish.” Internet, you are truly a good friend. So anyway, it turns out it was The Kindred, and since I was on a fishy underwater monster movie kick and couldn’t remember anything about this one, I decided to track it down (surprisingly difficult) and see what else happens besides the woman who dated both The Flash and Max Headroom turning into a fish. Turns out not much.
In 2002, I had the possibly once in a lifetime chance to spend an entire summer driving across the United States. My traveling partner and I were able to indulge every whim, sometimes diverting wildly from our vaguely set course in order to visit some out of the way attraction or satisfy some curiosity or whim. Among the many things we both enjoyed was visiting air and space museums. Some we had targeted ahead of time. Others we learned about along the way. Some we stumbled upon entirely by chance out in the relative middle of nowhere. We were, at one point, making our way across Kansas after having already stumbled upon the Mid-America Air Museum in Liberal. We hit a town called Hutchinson, and as we made our way through caught a glimpse in the distance of a couple rockets. Obviously further investigation was warranted, and that in turn led us to The Cosmosphere. By this point in our travels, we’d hit more air and space museums than I can remember off the top of my head, and though I was not tiring of them (who can get enough Ham the space chimp? No one I’d want to know, that’s who), what made Cosmosphere one of the best was that a substantial portion of the museum was dedicated to the Soviet space program.
Many films focus on the glamour of the modeling industry, but it seems that it’s only the horror genre that concerns itself with its dangers. Movies like Horror of Spider Island and Bloody Pit of Horror have shown us how, time and again, models and those charged with tending to them have been called upon to place themselves in harm’s way, like soldiers at the front. And perhaps no more credible presentation of that reality can be found than in 1981’s Dawn of the Mummy — even if that film also asks us to believe that an American fashion magazine would bankroll a whole crew traveling to Egypt just to shoot dresses that look like old lady nightgowns.