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.
Born as I was in the early days of the 1970s, I am by law required to identify myself as part of the Star Wars generation. And to some degree I suppose that’s accurate. I’m not going to try and retcon myself into some cool iconoclast who hated Star Wars when he was five years old. I loved it. Saw it in the theaters, saw it at the drive-in, saw it more times than I care to count at my friend’s house when it finally came out on VHS. But Star Wars was not the sole reflection of my science fiction tastes. I started in on sci-fi at a very young age, exposed pre-concrete-memories to a lot of trippy hippy sci-fi freaks — the benefits of growing up with parents who were still in college. Neither of my parents were full-on hippies. My mom was a bookworm with hippy tendencies but too much anger, and my dad was basically one of those easy-going jock stoner types with a taste for Uriah Heep. So I was around a lot of college weirdos, some of whom helped invent stuff like Dungeons & Dragons, and some of whom played football or were on the swim team back from that strange era when even athletes had long hair and Fu Manchu mustaches and lava lamps. I was a kid obsessed with comic books superheroes, robots, ray guns, and Ultraman. I “read” a lot of old sci-fi comics as well, or read them as much as any three-year-old can, which is to say I looked at them and drooled. But I guess the crazy covers and artwork were the sort of colorful eye-candy to me that Teletubbies or Yo Gabba are to modern children. All things considered, I prefer my version.
Thai filmmaker Sompote Sands’ Magic Lizard has rapidly become something of a legend among those of us for whom such things are prone to becoming legends. Not quite on the level of Shaitani Dracula perhaps, but an experience in deep and scarring pain never the less. I’d seen this movie damage even some of the stoutest viewers of global cult cinema. So when it finally came time for me to watch it, considering it had already been reviewed properly by Die Danger Die Die Kill, WtF Film, and Ninja Dixon, as well as discussed on the Infernal Brains podcast, I thought I might try something a little different. And so I enlisted The Cultural Gutter to partake in a coordinated viewing with me, with our reactions being recorded via Twitter as we were in different states and I was too lazy to try and set up some sort of Skype thing. To sweeten the experience, we would be joined by a couple people already bearing the Magic Lizard Red Badge of Courage — Die Danger Die Die Kill and WtF Film — to act as Sompote Sands sherpas.