The years 1976 to 1986, roughly spanning ages four to fourteen for me, seem to be when I discovered the bulk of what I would end up liking for the rest of my life. At the time, my enthusiasm for entertainment that was sometimes, to be charitable, of dubious merit, could be chalked up to simple naivety — the juvenile tastes of a juvenile. Perfectly acceptable, even if it did mean that I was prone to celebrating things like Treasure of the Four Crowns and Gymkata. However, years — nay, decades — later, I find that when I go back and revisit these films so beloved in my youth, rather than having a quiet chuckle at how silly I was back then, I actually enjoy them just as much. And sometimes even more.
Angelfist, aside from being a nonsensical title, was a video box cover that haunted my friends and I for many years. It was perched right up at the front entrance of Pick of the Flicks in Gainesville, Florida, and featured a blonde woman in an ugly leotard doing what has to be one of the most awkward high kicks I’ve ever seen, while holding her arms in this weird little curled-up T-Rex position. It was perhaps the single most ludicrous martial arts movie box cover pose I’d ever seen, at least until those Matrix movies made that completely silly looking Spiderman-meets-chicken jump/pose/kick inexplicably popular. I know guys did it in old kungfu films too, and it looked just as silly then, unless they happen to be wearing one of those silver wigs that is supposed to make you look like an old master even if you have the face of a guy in his twenties. Also, if you do that kick, the only way to get any power from such an awkward position is if a foley artist loops in the screech of a hawk or an eagle right as you jump
Anyway, as much as we pointed and laughed at Angelfist, which also triumphantly proclaimed “Starring Eight Billion Time American Karate Champion Cat Sassoon” or something to that effect, we never actually got around to renting it. At the time, we had so many old Shaw Bros. and Ocean Shores releases to work through that piddling around with a Roger Corman karate movie seemed rather a poor use of our time. Alas, I was so young and naive back then, and in my then recently discovered fervor for Hong Kong action cinema, I turned my nose up at so many films that… well… deserved to have noses turned up around them. But now I know better and willingly embrace such films. Thus, back when skinnyguy.com was still around and you could buy 50 crappy VHS action and kungfu films for like five bucks, I ended up with my very own copy of Angelfist, along with about a hundred Godfrey Ho/Thomas Tang/Joseph Lai ninja movies starring Richard Harrison. So whenever I complain to you about my financial woes, you can always respond by going, “Don’t you own copies of Ninja Phantom Heroes and Diamond Ninja Force?” And I will have to hang my head in shame, even if deep inside I am secretly proud of owning such movies.
Just as I was pleased that “post apocalyptic rollerskating movie” is not a description of a single film but of an entire genre, so too am I happy that “movies featuring nude kickboxing” yields expansive enough results that I can sit back and say, “You know, I think I’m going to become an expert in films that feature nude kickboxing.” Angelfist certainly doesn’t fail to deliver in the nude kickboxing arena, though it does fail to deliver in just about every aspect that a movie might otherwise strive to achieve. It joins a storied list of films that includes Angel of Destruction, Redline, Girls on the Run, Rolls Royce Baby, Naked Fist, and Kungfu Leung Strikes Emanuelle in my collection of nude kickboxing movies. Rolls Royce Baby in particular teaches us that there’s nothing appealing about watching a sleazy Eurotrash lounge lizard do full frontal nude katas. In general, nude karate is not a sport that lends itself to the male anatomy, though I don’t begrudge any man who chooses to make it his chosen form of exercise. If only they’d had the good sense to accompany his workout with a similar scene of Lina Romay, but she’s spending too much time in that movie standing on her head while nude for no good reason other than it never hurts to feature Lina Romay nude and standing on her head. I know there are plenty of other films out there featuring nude martial arts, and I intend, one by one and while dressed like Coffin Joe, to possess them all.
So it turns out the awkward looking blonde on the video box isn’t Cat Sassoon at all. We’ll get to the blonde later. It turns out Cat Sassoon is the daughter (in real life, that is) of shampoo empire tyrant Vidal Sassoon, who I assume achieved his high rank in society through liberal use of karate fighting thugs, and even now he forces hobos and prostitutes to fight in underground martial arts tournaments where the combat takes place in huge pools of mousse. Catya’s biography is one of a typical “live fast, die young” (she did both) Hollywood kid, and I’m not sure at what point she picked up the various karate championships the movie celebrates as being in her possession (actually, she picked them up when Roger Corman invented them and assigned them to her via movie poster). She seems to have spent most of her short life doing drugs and being a supermodel thanks, in large part, to the fact that she was the daughter of Vidal Sassoon and Beverly Adams. At some point, she parlayed her modeling and “daughter of Vidal Sassoon and Beverly Adams” gig into a movie career and appeared in the film Tuff Turf, the movie that had the unenviable task of making James Spader seem like a bad-ass. From there, it was straight to the bottom of the barrel, and before too long she found herself in The Philippines working in films by our main man, Cirio Santiago.
As far as authentic martial arts bad-assery, and despite the claims made on the cover of this movie, I’m going to go out on a limb here and say that Cat Sassoon was possibly one of the very worst of the many “next female martial arts superstars” that surfaced in the 80s and 90s with dubious claims about winning international tournaments and Vidal Sassoon Hair Mousse Kumites. She’s definitely not to be measured alongside actual bad-asses like Cynthia Rothrock and Karen Shepherd, both of whom made awesome movies in Hong Kong before coming back to America to make movies that were just awesomely bad. But they both knew their stuff, cut their teeth in Hong Kong, and had easy to verify martial arts careers. The waters get murky really quickly beyond them, though.
I’m ranking Sassoon — who must have been slapped on the back while eating lemons, thus freezing her face in an expression of pouty disgust (Joe Bob Briggs described her as having “the fist of an angel and the face of a fist”) — below Mimi Lesseos (who at least worked as pro wrestler before trying her hand at being the next direct-to-video female martial arts superstar), although Angelfist is remarkably better than anything Mimi Lesseos ever starred in. Probably above Maria Ford, who did time in her own bargain basement Filipino nude kickboxing movie, Angel of Destruction). It’s a hard call. And maybe above some of the women who tried to do martial arts in various Andy Sidaris T&A masterpieces. But whatever the case, when you’re locked in a battle for last with Maria Ford and former Playboy Playmates, well, you’re a long way from the surface. Plus, the trailer for Angel of Destruction has the narrator saying “She gets caught between a rock…and a hard place!” as they show Maria Ford kicking a rapist in the balls, so that might actually get the edge.
The claim is that she’s a “WKA North American Forms and Weapons champion,” but if this is true, the WKA doesn’t seem aware of it. Of course, I suppose Cirio Santiago could have created a different WKA than the World Kickboxing Association. Maybe it stands for “Women Kick Ass” or “Wonderfully Krappy Awfulness.” I think everyone who ever starred in a martial arts movie got to be the champion of some organization or tournament. In 1992, my friends and I shot about two minutes of an epic we were going to make about a Misfits-loving zombie who returns from the grave, is disillusioned by how punk went all hippie-crusty or metal, and so decides to destroy the world, with only the staff of a local Chinese restaurant to stop him. I think as a result of filming those two minutes, which consisted I think of footage of me jumping over a railing in a parking garage, I became de facto two time world champion in forms and combat for the Global Regional Karate Union of North Florida.
So if we’re going to drown at the bottom of the barrel with the late Cat Sassoon, we might as well do it in the company of another daft movie by Cirio Santiago. Of course, this movie, with its gratuitous martial arts tournament footage, is positively rational compared to some of his more feverish efforts, but that still leaves plenty of room for you to shake your head and say, “No! No. Wait, what?” The gist of the thing is this: while either vacationing or working as a photographer or participating in a karate tournament, a woman named Kristie (Sibel Birzag, who appeared in Angelfist and…oh, just Angelfist) catches an assassination on film. Although she phones the American embassy with news that one of their top generals has just been murdered by dudes with pantyhose on their head, and that she has photographic evidence, no one seems to consider it all that big a deal. Must be the same army as we saw in American Ninja, where the continuous slaughter of American soldiers at the hands of Filipino ninja hijackers didn’t really raise much of an eyebrow. So rather than go into the embassy or the police or anything, she goes and competes in a round or two at a karate tournament where all the women wear sexy leotards, halter tops, and thongs instead of actual martial arts clothing. She then has the film delivered not to the embassy or the police, but to a friend who works as a nude dancer at a club that specializes in the world’s least enthusiastic stripping. And then, of course, she gets murdered.
When the woman’s Los Angeles cop sister (Cat Sassoon) gets wind of the murder, she travels to the Philippines to solve the case and deal out plodding kungfu justice to those responsible, even though the local authorities use the “I know you’re a cop back in LA, but this is Manila. We do things different here,” shtick, which has never deterred a single rogue cop ever. It’s no more effective than “I just spent the entire morning getting my ass chewed out by the mayor,” or “your methods are too extreme, Inspector Nico!”
Along the way, Cat will enter the martial arts tournament in place of her sister, since movies have taught us that all gangsters and would-be revolutionaries are also shady martial arts tournament promoters. Ostensibly, this has something to do with getting close to…I don’t know. There were some Mexican drug dealers, or something, and some of the revolutionaries responsible for the murder are involved. Look, I sort of lost track, so I’m going to say that Cat enters the tournament so that she can keep land developers from knocking down the local community center in order to make room for a shopping mall. The primary purpose of the tournament really is to pad out the film’s running time with lots of really bad martial arts bouts and only slightly more interesting shower scenes in which Cat Sassoon proves that no amount of shampoo empire money can buy you decent martial arts skills or a decent pair of fake boobs in the early 1990s. I’m sure hers, which she shows often in this film, cost a lot of money, but that doesn’t stop them from looking like someone took a couple honeydews, wrapped them in those pointy little knit caps worn by Tibetans and hippies, then strapped them to Cat’s chest. Thhis is one of those extremely rare moments where the nudity comes and I say, “You know, why don’t we just put those away for now?”
Anyway, you better get used to them, because as I said, she pulls them out pretty often, God bless ‘er, including during a scene where she is attacked in her hotel room by a bunch of ninjas and has to fight them off while wearing nothing but a pair of panties. The two most striking things about this scene are how awful Cat’s martial arts are, and how no matter how much she tumbles and stumble around, her breasts remain completely motionless, like a couple of gyroscopes with a fake tan.
And she’s not alone. Joining her in her quest to showcase gratuitous boob shots and astoundingly awful karate fights is lovely Melissa Moore (and her much more natural breasts), a Versailles (that’s vur-sails to y’all — if the French didn’t want you to pronounce the “L’s” then they shouldn’t have put them in the word), Kentucky native who found herself slumming it in all sorts of movies like Hard to Die, Vampire Cop, and Sorority House Massacre 2, among many others. The martial arts she showcases in the film don’t look any less awkward. You know though, maybe it’s me. I mean, I’m no kungfu master, so maybe I just don’t know what I’m talking about. Maybe the proper fighting stance for the martial art they’re using is indeed to curl your arms up like an Incan ice mummy and mash them against your chest.
Whatever the case, I like Melissa regardless, even though her part consists mostly of sitting in the audience and watching Cat fight while nodding to herself. Well, when she’s not busy taking showers. And apparently someone else likes her too, because there’s a comic book about her, Melissa Moore, Bodyguard from Draculina Publishing. I’m not a big reader of comic books, so I don’t know too much about it. Somehow, I think that even if I was a big reader of comic books, I still wouldn’t know too much about it. Never the less, I’m still glad it exists.
So now that I’ve had some fun ribbing the ladies, let me say that I love that both of them are willing to give their all, however much that may be, for a movie like this. I mean, good or bad, Moore and Sassoon are in there, taking their lumps and starring in crummy kungfu films. I love ‘em both for it. Working the Corman-Santiago Manila circuit can’t be steak and onions, as stories from the likes of Walter Hill and Pam Grier attest to. And I don’t know about Melissa Moore, but Cat Sassoon certainly didn’t have to do anything more than sit back and live off the sudsy wealth of her family. Instead, she went to the Philippines and made low-budget action films. Good for her! And as for Moore — what can I say? I have a soft spot for Kentucky girls. I’d love to do a long interview with her or pay to have her write a book. As I’ve said many times before and will doubtless say as long as I keep reviewing crappy low budget Roger Corman productions shot in the Philippines, the stories behind these films are probably way more interesting than both the films themselves and the making of stories behind the standard Hollywood project. So if I poke fun at the ladies, it’s done out of love and with nothing but good nature.
Not so much, though, for the comedy relief male sidekick and the usual host of “You kicked their ass? But…but…you’re a woman!” and “That was amazing! Could you teach me some of that kungfu jazz?” shtick that invariably follows him and his Chess King wardrobe around. And since I’ve cracked jokes at the expense of poor Cat Sassoon, who wanted nothing more than to make shitty kungfu films and show us her fake boobs as often as possible (and don’t think I don’t appreciate her for that), I might as well mention that actor Michael Shaner looks like someone mashed Matthew Modine and John Malkovich together. There’s something not quite human about him, like he’s a clay-faced shape shifter doing its best to approximate what a human douchebag looks like. The big difference between Shaner and Sassoon is that by the end of the movie, Sassoon’s crappy acting, terrible martial arts, willingness to show off her weird fake boobs, and her overall strange appearance won me over. Heck, I’m ready to buy more Cat Sassoon action films on 50 cent VHS. Conversely, I want to punch Shaner in the face, even though I know it’s sculpted out of clay and butterscotch pudding, or whatever shape shifters are made of. You know what, Shaner? Your wardrobe isn’t even good enough to be Chess King.
Both Moore and Sassoon turn in nude kickboxing scenes, though I think Moore’s only counts half a point since it’s just a ripped shirt. But Sassoon goes full on, in just her lacy red panties, showing off her otherworldly fake boobs and accompanying fake tan that, coupled with the oily misting job they did on her to give her that fresh out of the shower appearance, makes her look like a particularly aggressive Nathan’s brand hot dog. This is without a doubt the second finest nude kickboxing scene I’ve witnessed (it’s going to be hard to beat the scene from Girls on the Run, though, because that’s a nude kickboxing scene directed by Cory Yuen Kwai). But Cat Sassoon holds nothing back. She throws all her energy into the scene, jumping around awkwardly, growling, yelling, and a few times doing spinning kicks while her face is obscured by a huge dollop of Vaseline or something on the lens.
I think they might have been trying to obscure the fact that a male stuntman with fake orange boobs attached to him was standing in for Sassoon. If that’s the case, oh man! What must that guy’s day have been like? One stuntman shows up and hears, “Well, you’re in the fight, and Cat Sassoon is going to be all greased up and naked, and she’s going to kick you then straddle your face.” And yeah, Cat may look a little weird, but whatever man, and if she’s nude and straddling my face then I still call that a good day at work. So the other stuntman is like, “This is gonna be an awesome day!” until he finds out that his job is to grease up, put on fake boobs and a pair of red lace panties, and be a stand-in for a nude kickboxing woman. And then his children will ask, “What did you do at work today, daddy?”
The rest of the cast seems comprised largely of Filipino kickboxing women who show up for matches and disappear again during the shower scenes (I’ve never seen a Filipino martial arts tournament locker room with so many white women in it). I guess most of these women have some actual martial arts background, but that doesn’t matter all that much since real life tournament martial arts are pretty boring to watch if you’re not an avid practitioner. They’re not any better here and are probably somewhat worse. There are also a couple rebels, and the usual assortment of white guys playing generals, diplomats, and other figures of authority. None of them are really worth mentioning. There is a guy named Mr. Carrion, which I suppose is a slightly better name than Mr. Rottin’ Guts McGee, but just barely.
This is one of the films, one of the many films, that force me to grapple with an assortment of moral questions related to passing judgment. Because this is a terrible, terrible movie, and I like it. It’s completely idiotic, and I like it. I have no justification for this adoration, and certainly I hesitate to tell others they should check it out. The acting is bad, the martial arts are worse, and the direction is nondescript. But like Cat Sassoon herself, somehow all the negatives add up to a decently dumb and entertaining 80 minutes. The action may indeed be bad, but there’s a lot of it. Like Melissa Moore and Cat Sassoon, all this movie wants to do is entertain you. And like its stars, the results are pretty feeble even if the effort is enthusiastic. Liking bad movies is pretty common. Liking bad martial arts movies is a much more, let’s say exclusive, calling. They’re still way easier to like than bad comedies and bad Steven Seagal films, but in a genre where bad stories and acting are glossed over in light of good action scenes, you better have good action scenes. When you don’t, there’s not much going on.
Except, you know, nude kickboxing.
Odd that movies like this are why, in the 1990s, I would write long screeds about how dreadful American martial arts movies are and how it’s a shame the US isn’t paying more attention to Jackie Chan and Jet Li. Now that the US is paying more attention to those guys — a bit too late for them to really deliver much that is worth paying attention to, sadly — I find that the crummy little low-budget productions from America and the Philippines have grown more attractive to me. And isn’t it funny that a number of the Hong Kong action stars of the 80s and 90s, once the action boom faded, sought to ply their trade in The Philippines. Somewhere in Hong Kong, the Chinese Roger Corman has Yuen Biao and Yukari Oshima in his office and is, no doubt, reaching for the bright red rotary dial phone that connects all producers in the world directly to the ghost of Cirio Santiago.
Release Year: 1993 | Country: Philippines and United States | Starring: Cat Sassoon, Melissa Moore, Michael Shaner, Sibel Birzag, Tony Carreon, John Crank, Roland Dantes, Sheila Lintan, Ken Metcalfe | Writer: Anthony Greene | Director: Cirio Santiago | Cinematographer: Joe Batac | Music: Stephen Cohn | Producer: Cirio Santiago and Roger Corman | Alternate Titles: Fatal Angel
So there have been a couple of reviews now, possibly more, where I’ve claimed that the crummy movie in question would have been much improved had the two leading stars been replaced by actor Doug McClure and actress Caroline Munro. I figured, then, it’s high time I reviewed a crummy movie that did cast McClure and Munro in the lead roles, and when one’s talking crummy films featuring either of those stars, it’s hard to find one that’s much crummier than At the Earth’s Core, a low-budget attempt by England’s Amicus Studio to bring to life Edgar Rice Burrough’s Pellucidar series of novels. Pretty much every pulp fiction writer, from Burroughs to Verne, wrote a hollow earth, beneath-the-surface of the planet adventure. Burroughs, in fact, wrote several, and these attempts to do Journey to the Center of the Earth one better comprise the Pellucidar books.
It was not an unusual practice for Hong Kong’s powerhouse Shaw Brothers studio to participate in international co-productions during its heyday, and the result of that practice was often some fairly unique screen pairings. For instance, there was British horror icon Peter Cushing teaming up with kung fu badass David Chiang in The Legend of the Seven Golden Vampires, and the Sentimental Swordsman himself, Ti Lung, trading lines with American TV movie staple and Night of the Lepus star Stuart Whitman in Shatter. But the 1967 spy thriller Asia-Pol stands out in particular for being a potential wet dream for fans of 1960s Asian action cinema. This participation between Shaw and Japan’s Nikkatsu – the studio that trademarked its own distinctive brand of hardboiled action cinema during the late fifties and sixties – boasts two stars who have, respectively, come to represent more than any others the identity of each of those studios at that moment in their histories.
Since I started Teleport City many moons ago, I’ve gotten a lot of email from people claiming to be ninjas. One was so batshit insane that I had to break confidence and send it around to other people. I’ve since lost it, but maybe someone still has it. It’s the one where a single sentence goes on for a full page. There was also a guy who used to write all the time and tell me about how he was a member of a secret ninja society that guarded Washington, D.C. But my favorite email is probably from a ninja who believed beyond a shadow of a doubt that I was Jim Kelly. The first time he wrote me, telling me how he loved my movies and wanting to know if I had any merchandise for sale, I did my best to let him down politely and tell him I’m not Jim Kelly without making him feel stupid. Then a few months later he wrote me, addressing me as “Mr. Jim Kelly” again. This time he was asking me what I’d been up to and when I was going to make another movie. For this time, I just didn’t reply, figuring that would cause him to lose interest. It didn’t.
There are, of course, serious and contemplative films from India. There are some modern Indian films that are subdued, intelligent, and thought-provoking. It is highly unlikely we will ever review any of those films. Within the confines of the type of film I’m likely to review from Bollywood (which would be any film that is as silly or fantastical as the films we review from any other country), it’s almost redundant to describe them as “somewhat over-the-top.” If the average Bollywood film is always over-the-top, then a Bollywood “cult” film — action, horror, martial arts, or something of that genre nature — is going to be twice as over-the-top as its more mundane but still over-the-top peers. With me so far?
So it is no small claim when I say that, even within the context of over-the-top Bollywood cult films, Abhay manages to be still more over-the-top than the rest of the pack (technically, this is a Tamil rather than Bollywood film, but let’s not nitpick at this juncture). I don’t know what film classification happens above and beyond over-the-top. Perhaps there isn’t one, in which case “Abhay” is destined to become an adjective, a descriptive term for a movie so completely nutso that even over-the-top film shake their head in admiring disbelief.
Abhay first came to my attention when I was flipping through the meager selection of Indian films for rent at the local underground video store. Yes, yes, I know. World of Apu and Langaan and all that. Not what I was looking for. Suddenly, I was greeted by a cover featuring a screaming bald man, covered in tattoos and brandishing a huge knife, flying down the side of a skyscraper. At the top of the box, an employee of this particular video store had slapped a white label then scrawled a simple message in black Sharpie: “Completely Bonkers!!!”
I was sold. In my world, there’s no greater critical endorsement than “completely bonkers” followed by three exclamation points. It’s an even better public relations blurb than when all those punk bands would take out an ad in Maximumrocknroll adorned with fake critical slagging to the effect of “‘Filthy and horrible’ — Our Moms.” With considerable glee and a jaunty song in my heart (something by Kraftwerk, I believe, probably from the Computer Love years), I trotted up to the counter, paid my rental fee, and rushed home giddy with anticipation. Unfortunately, the disc looked like a team of hyperactive cats had been tap dancing on it. I don’t even know what you can do to a DVD to get it as scratched up as this one. Without much optimism for the outcome, I put the disc in my DVD player and confirmed what I feared: this disc wasn’t going to play. Putting it in the DVD drive of my computer yielded slightly more encouraging results, but not wanting to watch half the movie only to find it sputtered and died on this player, too, I advanced forward a little bit and confirmed that no matter which player I used, it was either going to not play at all or freeze up around the hour and a half mark.
With great sadness weighing down my heart, I returned the disc the next day, and the store confirmed that they too could not play the disc (though that didn’t stop them from putting it back out for rental). I used my free rental credit to rent something uplifting and spiritual (probably something where Paul Naschy turns into a werewolf), then returned to my humble hovel to seek out my own personal copy of Abhay. Heck, Indian DVDs only cost a few bucks anyway, so it wasn’t like I was taking a huge gamble. The tiny bits and pieces I’d seen as I tested the rental disc seemed to support the notion that I wouldn’t be disappointed by owning my own copy. A couple of days and $8.99 later, I was filled with a sense of euphoria once more as the package showed up from India Weekly, this times sans thousands of gashes and scratches on the surface of the disc.
Imagine my shock and woe, then, when after an hour and half of absolute joy, the disc sputtered and died in the exact same spot as the rental disc. “What sorcery be this???” I exclaimed incredulously. How could such a thing be? A little research on the internet soon turned up the answer: The disc, released by a company called DEI, was defective. Or rather, most of them were. The vast majority of people who bought the disc found that it died at exactly the same spot as my rental and purchased copy. Despite the fact that Abhay, from the half of it I saw, is prime material for release in the United States, no domestic company had snatched it up, presumably because they were saving their money for more movies about heroic cricket players. Thus, it was looking like there might be no way of ever seeing the second half of the movie short of buying a hundred Abhay discs and hoping one of them would turn out to be playable.
Oh, misery! I cried out to the heavens! Why have the Gods forsaken me? Why does the cruel, cold universe not want me to see Abhay? Dismayed at this disheartening turn of events, and reconciled with the fact that I would perhaps never get to finish a movie that freezes up right when the main character turns into a cartoon and starts spinning a slutty pop star round and round on his big Jim Bowie knife, I curled up with a bottle of rum and watched Odin instead, but its salve did little to assuage the pain.
Some days later, the sun dared peek once more through the grey lining of clouds obscuring my horizons. Tease me not! I cried out to the sun, for twice now he had let the warming rays of Abhay fall ‘pon my face only to snatch them away at the last second. Or more specifically, around the 5,400th second. On this day, a haggard man wandered out of the desert and, in between ingesting peyote and disappearing inside a sweat lodge covered in old cowhide, he said to me, “Why don’t you just buy the Tamil DVD? It’s the same movie, only in a different language you can’t speak.” Anxious yet dubious, I cashed in my defective DVD credit with India Weekly and ordered the Tamil release of the DVD, which goes under the name Aalavandhan. And lo the clouds did part and angels blew ‘pon trumpets of gold, for I was finally able to watch the entire movie without the specter of a defective disc throwing ice-cold water down my back when I least expected it.
But even then, there was a single tear rolling down my cheek. For although the disc worked and I had finally managed to watch this movie, I noticed that the non-defective disc was a slightly censored version that had been trimmed of several moments that were present on the watchable parts of the defective disc. Once more I threw my arms toward the heavens ‘pon high and bellowed with frustration and rage as the heartless Fates looked down from above and laughed at me as they pelted my face with cold, cold rain — but nary so cold as the coldness of their hearts.
I don’t usually go into a review of a particular DVD or aspects of that DVD, focusing instead on the film itself as something independent from its presentation on a disc. In this case, however, I feel like I should preface the proper review with some quick notes about the differences between the disc you can watch and the disc you probably can’t (a few copies play fine, some play fine for a while but suffer severe “rot” and become unplayable a couple of months later, and most like mine are simply defective right out of the box), if for no other reason than I seem to have spent so much time trying to get a playable copy of the damn thing.
The first notable difference is in the spoken language, though it you speak neither Hindi nor Tamil this is going to be of minor concern. Given the multi-lingual make-up of India, either language could be considered the “correct” language. It’s a Tamil film, but the Hindi audio track is just as authentic. The difference is in the English that appears throughout the film, which is slightly better in the defective DEI/Hindi version than on the non-defective Tamil version. The English subtitles are also better on the DEI version, both grammatically and aesthetically. But these are pretty minor quibbles with which one could live, especially considering the fact that the whole “disc will self-destruct at the 90 minute mark” thing overrides benefits like “subtitles marginally better.”
It’s the trimming on the Tamil disc that really steams my monkeys. There are several scenes of drug use that are central to the plot but edited out of the Tamil version. It fouls up one’s comprehension of what’s going on in a film that is already pretty bizarre. The notable edits come when title character Abhay (called Nandu in the Tamil version) seeks medication from a drug dealer and is instead shot up with heroin (leading to the film’s lengthy, highly entertaining freak-out and hallucination sequence) and when slutty pop star Sharmilee gets him all coked up. In both instances, the actual use of the drug is excised from the film, causing it to jump abruptly. It’s not like you couldn’t figure it out, but it’s still really irritating. There’s also a point in the Abhay-Sharmilee sequence where Abhay discovers he has been given a container of Ecstasy and offers it to Sharmilee. This too has been cut, along with a few lines of dialogue associated with the exchange. These seem like small cuts, but each moment is crucial to explaining what happens next. Without them, the film suffers and seems poorly edited rather than just poorly censored (similar to how criticism of jarring edits in John Woo’s Bullet in the Head are, in fact, short-comings of random cutting after the fact to fit the film onto one laser disc, rather than deficiencies in Woo’s original editing, which is quite fluid and smooth and doesn’t do things like randomly jump to a car-chase and shoot-out at the end without explaining what the heck happened to get us to that point). If there are additional cuts beyond these, I can’t say since this is where the DEI disc stops playing.
So there you have the frustrating circumstances. You can either have the uncut movie on a disc that won’t play, or you can have a disc that will play but contains a censored version of the film. I’m thinking of cobbling together my own version composed of the first 90 minutes of the Hindi disc and the last 90 of the Tamil disc, but then that sort of seems silly since I have them both lying around anyway. I’d like to see DEI either repress and re-release the film or just have a US company pick it up and distribute the uncut version. Until then, unfortunately, the trimmed Tamil version is the best we have. Which is a shame, really. Silly technical hitches like that shouldn’t mar what is an otherwise completely mind-blowing, thoroughly bonkers, and immensely enjoyable mind trip of a film that manages, as I said earlier, to be even more crazy and insane than the usual crazy and insane films India has to offer.
Kamal Hassan stars as heroic moustachio’d Vijay (always with the heroic Vijays, aren’t they), commander of a crack squadron of commandos who specialize in combatting terrorism. More important to the story, however, is that Vijay is about to marry gorgeous newscaster Tejaswini (Raveena Tandon, of Ziddi infamy). On this joyous occasion, Vijay decided he should visit his psychotic brother, Abhay (Nandu in the Tamil version) in the mental asylum and tell him the good news. I’m not sure what sort of reaction Vijay was expecting from the gibbering, bald nutcase (also played by Kamal Hassan, thanks to cinematic and shaving magic) who murdered their stepmother when he was twelve years old, but Abhay doesn’t take the news too well. In fact, he immediately proclaims Tejaswini to be a man-eating succubus who must have her throat slit in order to save Vijay. All things considered, Vijay decides against inviting Abhay to the wedding, obviously afraid of what sort of Best Man speech the guy would make. Abhay is obsessed though, and he soon orchestrates his escape from the asylum and begins a completely bizarre and violent quest to track down and murder Tejaswini.
Director Suresh Krishna and writer/star Kamal Hassan set lofty goals for themselves. Abhay was to concentrate heavily on the world as perceived through the eyes of its titular drug-addled psychopath, which means that there are ample opportunities to ratchet up the weirdness. To realize Abhay’s hallucinations and insanity, as well as facilitating Hassan playing dual roles without relying on age-old split-screen trickery that can give us so many Amitabh Bachchans in a single film, they tapped the visual effects wizardry of Das Chinmay, Sylvan Dieckmann, and George Merkert — who between them have logged major special effects work on big-budget Hollywood films like Serenity, Superman Returns, Poseidon, Starship Troopers, The Ghost and the Darkness, and Total Recall. Regardless of what you may think of those movies, there’s no denying that Hassan and Suresh Krishna were calling in some visual effects big guns, putting forth a vision that far exceeded anything ever attempted in Indian cinema, where effects work is often crude. The result made Abhay one of — if not the — most expensive Indian movie of all time. A huge amount of hype surrounded the film and the many special effects it would boast. Expectations were sky-high, and Abhay was poised to be the biggest release of 2001.
And it might have been, if many people had bothered to see it. Apparently, to be a big release, people have to actually show up for your release. Instead, and for a variety of reasons at which analysts can only guess, audiences shied away from the film, and it wasn’t long before the biggest film in Indian history became one of the biggest flops in Indian history. Like Megaforce, except that the effects are better, the movie is actually good, and Kamal Hassan never kisses his own thumb and thrusts it lovingly toward the camera.
Still, box office failure and critical and audience puzzlement at just what the hell Hassan was trying to do doesn’t mean the film isn’t spectacular, especially from the viewpoint of a cult film fan. It packs in a ton of breakneck action, some quality acting, and some absolutely inspired freak-out scenes. In particular, viewers go along with Abhay on a protracted heroin binge that is realized on-screen by everything from a seven-foot-tall Ronald McDonald wise man to Abhay turning into a cartoon character so he can engage in a bone-jarring kungfu fight with an animated version of Tejaswini. It’s absolute delirium, and for the most part the film manages to keep the frantic pace. Only once, during a lengthy flashback detailing the events that lead up to Abhay murdering their mother-in-law, does the film stumble. The flashback is interesting and essential, but far more drawn-out than it needs to be. The highlight of the overlong flashback scene is a prancing, dancing half-naked village idiot who keeps you thinking that the film is going to delve into weird pedophile territory, though it never does. The guy is just a harmless weirdo. Hassan could have chopped this sequence in half and had an even stronger film. As it is, it serves as a bit of interesting back story in a sequence that gets tedious, but at least it recovers for a blowout of a finale.
The special effects range from competent to outstanding, and though the film obviously revels in visual flash, it seems for the most part to be justified by the plot. And even when it’s just indulgence, it’s still pretty fun. The bulk of the effects are up to the standards of Hollywood productions of the time (2001), and they set a new benchmark for the quality of effects work in Indian films in much the same way Star Wars did in the United States and Zu Warriors did in Hong Kong. The animated sequences are also a real treat, though the animated versions of Raveena and Manisha Koirala aren’t nearly as sexy as the real things.
The martial arts choreography isn’t spectacular, but it’s still pretty good, and there are a couple stand-out action sequences, such as a car chase that sees Abhay leaping from vehicle to vehicle and the final showdown between the two brothers, that really make Abhay a stand-out action film as well as a screwed-up acid trip of a movie.
Highlighting the action is the fact that the cast performs quite solidly. Top Tamil star Kamal Hassan is wonderful in his dual role, creating two characters so individualistic and unique that you never once even realize you’re watching the same actor in dual roles. Vijay is stable, caring, but determined to protect his bride from his brother. Abhay is a scenery-chewing madman with a tendency to turn into a cartoon. Hassan is hardly a typical matinee idol. He lacks the rock-hard abs and sculpted male model body that so often passes for “tough guy” in the movies. Anyone who’s been in a scrap knows that most of these preening pretty boys are useless in a pinch. What you want is a guy like Kamal Hassan, boasting the same sort of body Joe Don Baker had in the 1970s. Yeah, sure, he ain’t got a six-pack. There’s a bit of a spare tire around the waist. But you never have any doubt in your mind that this guy could kick your ass while downing half a dozen beers without spilling a drop. He’s not buff, but he’s solid, and you know he’s tough. That he’s an engaging performer only sweetens the deal.
Raveena has little to do other than be occasionally stalked and menaced by Abhay while she looks ravishing, but one of my favorite actresses, Manisha Koirala (Dil Se, Company) has a hilariously grotesque part as a sleazy, sex-crazed, cokehead popstar who tries to bed Abhay before ending up on the bad end of one of his drug-induced hallucinations. She appears in a weird musical number, then shows up for the hotel scene, which she plays out almost entirely in English. I love Manisha. Love her to death, but man, acting in English is not what you might call one of her strong points. I have no idea what she thought she was doing. Bad as it is, though, it’s still pretty entertaining (and not as bad as all the English-language acting in the Hong Kong film Gen-Y Cops). Kitu Gidwani appears in flashbacks as the manipulative mother-in-law, while Anuradha Hasan plays the saintly real mother of Abhay and Vijay, who appears frequently to Abhay as a sort of ghostly Ben Kenobi hallucination.
The music is a non-entity most of the time. There are a couple run-of-the-mill numbers that simply wash over you and are rapidly forgotten. The only musical scenes that matter or are in any way memorable are Abhay’s hallucination about dancing with Sharmilee, and then Sharmilee’s utterly bizarre African-themed stage performance. The background score is…well, I don’t remember a thing about it, honestly. I don’t suspect audiences were coming (or not coming) to Abhay for the music.
Hassan’s script wastes no time, and even at three hours, he keeps the film skipping effortlessly from one crazy moment to the next. Hassan has a reputation as one of Indian cinema’s bolder and more unconventional risk-takers (placing him in the company of men like Ram Gopal Varma), and Abhay was certainly a risky movie. It’s equal parts psychological horror, Hong Kong action film, fantasy effects film, and musical comedy — even Indian audiences accustomed to seeing every genre imaginable crammed into a single film didn’t really know what to make of Abhay’s gloriously madcap combination of ingredients. Although it’s a financial failure, as a piece of mind-blowing phantasmagorical entertainment, you’d be hard-pressed to find a film more enthusiastic and strange than Hassan’s big-budget ode to schizophrenic kungfu insanity. It’s a bit bloated, definitely way over-the-top, wildly imaginative, and as a result, an absolute joy to watch — if you get to watch it at all.
Release Year: 2001 | Country: India | Starring: Kamal Hassan, Raveena Tandon, Manisha Koirala, Shri Vallabh Vyas, Milind Gunaji, Kitu Gidwani, Anuradha Hasan | Writer: Kamal Hassan | Director: Suresh Krishna | Cinematographer: Tirru | Alternate Titles: Aalavandhan
This sun-drenched French production set in St. Tropez, one of the first for that country shot in color and scope, is famous — or notorious, if you prefer — for several reasons. For starters, it is the film that launched the career of Roger Vadim, a member of the French new wave in cinema who looked at his films as more of a fashion and art design show than as a way to actually tell a story. His tendency to romance beautiful women, them feature them in his films wearing as little as he could get away with, is among his many great contributions to global society. And here, in his debut film, he decided to give the world Brigitte Bardot.
I said when I reviewed the final Vadim-Bardot collaboration the dreary-yet-intriguing Don Juan (Or if Don Juan were a Woman), that a film of that sorry caliber was not the proper place to discuss the life and times of Brigitte Bardot, that she deserved something a little more impressive. Well, you can’t find a much better place to discuss her than here, the film that launched her to superstardom. She had been working in film since 1952, but this was the one that turned her into the endearing cinematic icon she would become. She started out training in music and dance but quickly moved into modeling and, as seems to often be the case, film. During the first year of her film career she met Vadim, and they planned to wed just as soon as it was legal (she was 17 at the time). Hey, it was France after all. Their marriage only lasted five years. Vadim was a legendary womanizer, after all, and a young Jane Fonda was waiting to become his next muse.
But the Bardot juggernaut was rolling, and she became a huge hit in America despite remaining a wholly French performer. Her photos and dubbed movies created a sensation and outraged Puritanical thinkers who were shocked at the level of sauciness her films often displayed. Yeah, that old chestnut. Will grumpy, uptight American blowhards ever get tired of being shocked and outraged at everything? This overblown reaction to everything, this desperate attempt from so many people to seem shocked and outraged by everything just so they can create a scandal or a sensation where none exists, is perhaps one of my least favorite things. It would be different if the shock was ever genuine, but no, it’s always something concocted purely to make waves in the media, who being utterly and fantastically idiotic and useless and an insult to the entire history of journalism, lap it up like mad dogs (if, indeed, mad dogs lap things up more fervently than regular dogs. You know what I mean). And lest you think I’m aiming my criticism purely at “the Conservative right,” let me throw into the ring that colossally moronic parade of indignation that was parades through the Left simply because Dick Cheney told someone to go fuck themselves, or way back when G.W. called a NY Times reporter an asshole. Or any of the countless times some innocuous something or other sends a money-hungry lawyer into fits of hysteria because it might offend someone somewhere, possibly.
Man alive, it’s enough to send me into fits of moral outrage. We live now in a society where sexuality comes in two flavors: either we’re totally repressed or we’re totally pornographic. That middle ground where things are playful and fun and teasing and healthy seems to have been eliminated from our concept of sex. We’re either uptight moral watchdogs fuming over some pop star’s boob or we’re ten-year-olds in thongs freak dancing in some lewd video full of sweaty strippers and guys in needlessly baggy trousers. We’re a nation of extremes growing ever further apart, even though in reality, I would bet most people are somewhere in the middle wishing the nutjobs on either edge would just shut the hell up. But that’s not going to happen, and as long as the middle doesn’t speak up and increase the noise even more, we just have to endure the crazies around us and hope that they keep canceling each other out as we remind ourselves most of them don’t even believe what they’re screaming about. They’re just trying to get more time on television.
So what does any of this have to do with Brigitte Bardot, Roger Vadim, and And God Created Woman? Well, it’s that same old story, though I guess it was newer in 1956 than it is now, but it was still pretty old even then. The film opens with a playful nude profile of BB as she sunbathes amid sheets of flapping laundry. This is back when people hung things out on lines to dry, you know. This was pushing what you could show in any film that wasn’t playing in the grindhouse and featuring a plotline about an escaped gorilla that terrorizes a nudist colony, but the French seemed to roll with it (the nudity, that is; not hanging laundry out to dry). Say what you will about their snootiness. At least they know not to get totally outraged at something like a naked butt. That could be their national motto.
When the film sought release in the United States, however, we trotted out our usual shock and outrage. Or rather, the handful of cranky sons of bitches in charge of such things trotted it out on our behalf without ever stopping to inquire as to whether the greater portion of America was actually going to be as offended as they were telling us we were. But even more so than a glimpse of Bardot’s behind, the powers in charge of national outrage were outraged, it seems, simply by the naked sensuality in the film, even though it wasn’t accompanied by actual nakedness, and by the open depiction of a woman who is at ease with her sexuality, her own body, and not prone to play the demure and loyal housewife. It seems, almost, that Vadim’s picture was made specifically for this sort of reaction. It is the story of a sexually liberated woman named Juliete who is perfectly nice and friendly but, because of her tendency to do things like mambo with them colored folks, is considered a trollop by the small-minded villagers around her. Conversely, the men in the film are all highly regarded and can do no wrong because they are successful and society-minded men, never mind how rotten they may actually be. Their transgressions can be forgiven since they are men, and well-dressed men at that.
Compounding Juliete’s problem is that she is an orphan adopted by a stern couple that doesn’t approve of her free spiritedness and are planning to send her back to the orphanage unless she settles down and gets married. I didn’t know you could send grown adults back to the orphanage, but I guess there are a lot of things I don’t know. She eventually finds a man she could love, but he treats her like a one-night stand and takes off the next day. His younger, more sensitive brother takes pity on her and falls in love, and eventually the two are married against the wishes of nearly everyone. Things get more complex with a wealthy shipping magnate takes an interest in her as well, and even more complicated when the older brother returns with romance on his mind. Although the men think of Juliete as a “destroyer of men,” Vadim’s film is positively on the side of the heroine. She’s the victim not just of opportunistic men, but also of the backward attitudes of those around her.
Though the film is somewhat sympathetic to Juliete, she is not without her faults. She is unable to remain faithful to her husband, though you could say this was simply because she was more or less forced into the marriage by circumstance. She seems less malevolent than she is simply innocent and ignorant of the fact that she, as a woman, is expected to do anything other than behave like the men around her, which means she should be free to flirt and sleep with whomever she wants. She comes across at times and thoughtless and impetuous, sometimes selfish, and as unable to control herself as the men around her. Like them, she wants to disregard any responsibility she should take for her own actions. All of them deserve a good kick in the bum to wake them up. However, it’s not Juliete fault the men turn into a bunch of leering goons every time she comes around — even though that seems to be the pervading (and damnably persistent) attitude of society at large, where the woman is always to blame when a man gives in to temptation or acts like a vicious cur.
It became difficult, if not impossible, to separate the movie from the controversy it caused. Well, it’s been a few years since 1956, so it’s easier now to look at the film on its own merits, though it certainly gets points still for having caused such a stir. And separate from said controversy, it’s an enjoyable film for me. Vadim would become famous for his art design and composition, and though this film lacks the eye-popping op-art madness of films like Barbarella, it’s still supremely gorgeous. Vadim takes full advantage of color and the richness of the lush Mediterranean setting. He alternates between painfully composed art shots and wild naturalism, using the wide scope format to its fullest to convey a sense of serene beauty and haunting desolation amid the color-drenched French seaside.
Of course, let’s not kid ourselves, since this is a Vadim picture. It is a serviceable psycho-sexual drama, but like most of his films, it’s rather sloppy in the narrative department and wanders without a care between art and exploitation. The plot is breezy at its heaviest, and the few times it attempts to inject serious drama into the proceedings are clumsy. It’s unevenly paced and drags in spots, but I’m partial to a slower film these days anyway. And of course, every single reviewer will refer to the formerly shocking scenes like the bare bottom or the mambo finale as “rather tame by today’s standards,” which has always been a phrase that I don’t like. Can’t say exactly why, other than to relate it to my even more fervent distaste for the “looks dated” criticism. Maybe it’s because it just seems stupid. Okay, we get it. Standards have changed in the past half a century. That’s not exactly a news flash. Personally, I think this film remains plenty daring and sexy, if not for what it shows then certainly for what it has to say. The “woman in touch with her sexuality” line has been trotted out countless times since this film as if it remains something new, daring, or unique. It’s much more enjoyable to go back to a film where it was new, daring, and unique. What the film manages to do with its daring, however, is where the wheels start to come off.
The film seems confused about what to do with its theme and often comes across as reactionary as it is progressive. It seems unable to make up its mind whether it wants to stick by Bardot’s character or pull the ol’ morality tale ending and teach us all a valuable lesson about the wanton ways of womanhood. If it seems hesitant to support the woman, it’s also hesitant to condemn the men, resulting in a film full of mixed messages. It doesn’t help that the dialogue is often campy and stilted. Vadim was never one for a stellar script, after all. Rather than try to decipher the message the film itself seems unable to bring into focus, it’s best to look at the film as something of a time capsule, of masculinity on the cusp of a new era trying to come to grips with a new breed of woman it fears and cannot fully comprehend.
But Brigitte is the main attraction, and she truly shines here in a film that could almost be summarized as a series of provocative postcards, or as a love letter to the form of Brigitte Bardot. She’s playful, charismatic, and hints at a touch of devilishness. It is quite easy to understand why the men around her are willing to throw their lives into disarray (even as they blame their weakness on her) for her affections. She is hypnotic and possessed of a quality few women have been able to convey onscreen. Her supporting cast is quite good too, including a turn by future James Bond villain, Curd Jurgens, here as the charming older captain of industry Carradine and later in The Spy Who Loved Me giving Roger Moore and Barbara Bach a hard time. But everyone else pales in comparison to BB, who was one of the few mode-turned-actress sex kitten types with real acting ability behind the pout to die for. Her mambo madness during the film’s finale is a sight to behold, that’s for sure.
Ultimately, the film’s aspirations slightly outreach its ability to deliver, but we’re left, if nothing else, at least with a film that had aspirations and looks damn good while trying to attain them. Bardot is stunning, the cinematography is divine, and the story may not be perfect, but it’s still a satisfying film for me. Is it art or cheap titillation? Well, does it really even matter? Is there a difference? As I’ve always maintained, what counts in a film, and with any sort of medium isn’t whether or not some body of strangers pronounces it as “art” or as “important.” What matters is, “did you enjoy it?” and “did it entertain or move you?” And you know, I did and it did, and that’s that. Like any Roger Vadim film it’s flawed, and things really start to fall apart the closer you examine the confusing messages behind the pretty pictures and see a movie that manages to be sexy, sexist, and sexually liberating all at once, that somehow is pro- and anti-feminist at the same time. In the end, what you have to remember is that this train wreck of moral messages is simply more proof that even at the beginning of his career, Vadim was far more interested in the image than the story. And God Created Woman emerges as an exploitation film wrapped in a art film — something that would become Vadim’s trademark. You can’t necessarily take it seriously, but that’s probably for the best. If you did, it would just make your head spin.
Bardot would go on a spectacular career full of many bad movies and a few more good ones. Her marriage to Vadim crumbled shortly after the completion of this film. In the end, the fact that she was reportedly a rather kind and generous person got the better of her, and relentless tabloid attention (you didn’t think those were new inventions, did you), crazed fans breaking into her home, and ultimately demonization simply for the fact that was sexy and willing to show the fact off, drove her to the brink of a breakdown. She retired from film in the early 1970s and did her best to disappear entirely from the public eye, eventually becoming active in the fight for animal rights. Vadim would reunite with her for her final picture, and then in 1988 go on to remake/rewrite And God Created Woman with Rebecca DeMornay in the lead.
Release Year: 1956 | Country: France | Starring: Brigitte Bardot, Curd Jurgens, Jean-Louis Trintignant, Jane Marken, Jean Tissier, Isabelle Corey, Jacqueline Ventura, Jacques Ciron, Paul Faivre, Jany Mourey, Philippe Grenier, Jean Lefebvre, Leopoldo Frances, Jean Toscano, Marie Glory | Writer: Roger Vadim | Director: Roger Vadim | Cinematography: Armand Thirard | Music: Paul Misraki | Producer: Raoul Levy | Original Title: Et Dieu… crea la femme