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Phenomenal and the Treasure of Tutankhamun

Like many people, I find that there are certain types of films that appeal so strongly to me on a conceptual level that I tend to cut them considerable slack when reviewing them. Often times, even the very worst of these films, like when Santo is old and fat and spends half the film driving a station wagon to the grocery store, muster enough of the elements I like to keep me satisfied. And one of my very favorite genres is the Eurospy film and the various offshoots and influenced tributaries — among them the Italian fumetti-inspired films. As we covered in some weird and convoluted fashion in our review of Kriminal and the three Turkish Kilink films, as well as Danger Diabolik, fumetti were saucy Italian comic books populated by sexy, violent anti-heroes and villains. Super-thief Diabolik became the flashpoint for a whole series of comics and related films that drew both from Diabolik and the James Bond movies. Diabolik himself was a throwback to the old pulp heroes like The Shadow, The Spider, and European counterparts like Fantomas — with a bit of Batman thrown in for good measure.

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Who Wants to Kill Jessie?

The mid-sixties were a time of increased experimentation and political outspokenness for filmmakers in Czechoslovakia, thanks to the increasing relaxation of government censorship that peaked in 1967 with the sweeping reforms of the Prague Spring, and which came to a crashing halt with the Russian invasion the following year. Of the films produced during that brief renaissance, Vaclav Vorlicek’s Who Wants to Kill Jessie? is far from the most radical or subversive. But it is just possible that viewing it would have been enough to convince the CCCP standard bearers back in Moscow that the Czechs were having entirely too much fun for their own good.

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Korkusuz Kaptan Swing

Reviewing the types of films that I do, I’ve become no stranger to mixed feelings. Korkusuz Kaptan Swing, for example, while leaving me less excited than other of Onar Films’ DVD releases, still feels like it should be a peak experience for me. After all, it’s a Turkish film that’s based on an Italian comic book that’s set in an imaginary America during the Revolutionary War. For someone as obsessed as I am with how the familiar gets refracted, refined and/or re-imagined through the lenses of different filmmaking cultures, you’d be hard pressed to concoct a more tantalizing recipe — unless, of course, you were to concoct a Thai movie that teamed Ultraman with a Hindu monkey god, or another Turkish movie in which Santo and Captain America join forces to fight a caterpillar-browed Spiderman. Neither of those two films, however, hold up a funhouse mirror to a well-tread episode of American history the way that Kaptan Swing does. And it is that strange depiction of my country’s forefathers’ struggle for independence that, more than anything else, makes the film come across to my tired Yankee eyes as being a product of a place oh, so very far from home.

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Faust: Love of the Damned

You know in action films when there’s that scene where two dudes get in a fight, and after one dude has kicked the other dude’s ass, he picks the fallen opponent up, buys him a beer, and they become friends? Well, that’s sort of what it’s like to watch Faust: Love of the Damned. This movie will sucker punch you in the face, knee you in the groin, and generally beat the crap out of you, but in the end, somehow, you’re willing to shake hands with it and help it rescue a damsel from some secret society or something. At least that’s how I felt about it, so you better get ready for another one of those reviews where I spend 99% of the time talking about how terrible the film is, only to say that I thoroughly enjoyed it come the final paragraph.

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