Tag Archives: Fantasy

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Web of Death

It wouldn’t be difficult to interpret The Web of Death — the third in director Chor Yuen’s long cycle of films adapting contemporary popular wuxia novels — as something of a cold war parable. In it, a Martial World clan by the name of The Five Venoms Clan is in possession of a super-weapon so powerful that the clan’s leader has decreed that it should be put under wraps and hidden away for the good of the Martial World as a whole. That weapon, the Five Venom Spider, is revealed to us in the film’s opening minutes, and that’s a good thing; while definitely kind of neat in a cheeseball sort of way, the Five Venom Spider is not the kind of thing that could live up to an extended build-up. What it is, in fact, is a normal-sized tarantula that, when released from its ornate cage, glows green, emits the roar of a raging elephant, and then shoots a deadly, electrified web to the accompaniment of much billowing of smoke and flying of sparks. It’s a weapon that will be deployed to amusing effect throughout Web of Death, but which has the unfortunate side effect of saddling Chor with a conclusion in which a room full of fighters who have been established as the Martial World’s bravest and most accomplished cower away from a spider. But more about that later.

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Legend of the Bat

When innovative Shaw Bros. studio director Chor Yuen teamed up with martial arts novelist Lung Ku and the Shaw’s top kungfu film star, Ti Lung, they made beautiful music together. In 1977 the trio collaborated to create two of the best martial arts films ever made, Clans of Intrigue and Magic Blade. The success of the films, as well as their recognition as some of the greatest looking films to come from the martial arts genre in decades, made it a pretty simple decision to keep a good thing going. Less than a year after audiences were dazzled with the complexly tangled web of swordplay, sex, and suaveness that made up Clans of Intrigue, the trio got together for a sequel called Legend of the Bat. Legend of the Bat is about Ti Lung smirking and stabbing people and trying to unravel a mysterious plot chocked full of secret identities, ulterior motives, and booby trapped lairs. In other words, it’s more of the same, and the same is worth getting more of when it’s as cool as Clans of Intrigue.

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King Kong

I think that one of the most forbidding things about Bollywood cinema for those Westerners who might dare to sample it is its apparent hostility to Western notions of genre. For armchair adventurers through world popular cinema like ourselves, such notions normally provide a reliable safe harbor, even when we’re struggling through the most alien of terrains. While a given country’s cinematic repertoire might present us with some disorienting cultural peculiarities, we generally feel secure in the knowledge that we can find within it such universals as horror movies featuring ghosts and monsters, thrillers pitting detectives against masked killers, and adventure films showcasing the exploits of costumed superheroes — any of which we can use as a familiar jumping off point from which to explore those aspects of the landscape with which we are less acquainted.

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Jaani Dushman: Ek Anokhi Kahani

That some of Bollywood’s worst sins have been committed in the name of nepotism is a fact which anyone who has borne witness to Karisma Kapoor‘s early career can sadly attest to. For the Hindi film industry’s directors, stars and producers, dynasty building seems to be a top order of business, right alongside the practice of their chosen craft. For a fearsome reminder of this, one need look no further than director Raj Kumar Kohli’s 2002 film Jaani Dushman: Ek Anokhi Kahani, as terrible a monument to a father’s love for his son as has ever been erected.

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Murder Plot

If memory serves, the thing that first brought me to Teleport City was a Google search I did for the Hong Kong director Chor Yuen. At the time I was in the early stages of a now full-blown obsession with Chor, specifically with the adaptations of Ku Long’s wuxia novels that he filmed for Shaw Brothers during the late seventies and early eighties. Given that obsession, you might think — now that I’m living the dream and actually writing for Teleport City — I would have gotten around to covering one of those films. But, the truth is that I’ve been a little intimidated by the prospect. You see, I enjoy those films on such a pre-verbal level that I fear words will fail me in communicating just what it is that I love about them so much. Fortunately, Keith has already done a lot of the heavy lifting for me by covering some of Chor’s better known, more revered films like Clans of Intrigue and The Magic Blade, which affords me the opportunity to turn my attention to one of the lesser-known, perhaps not quite as accomplished, but none-the-less thoroughly enjoyable films from this chapter in his career. You see? Baby steps.

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Dharam-Veer

Once you’re done with the knowledge-based cherry picking, there are a wide variety of factors that come into play in deciding which are the potential gems among the selection of five dollar Bollywood dvds at your local Indian grocer or favorite online vendor. Familiar names or faces in the cast or crew of a film are always helpful, but there are also certain thematic or conceptual lures that might serve to tip the scales. In the case of Dharam-Veer, for instance, it certainly didn’t hurt that the cast included the stunning Zeenat Aman–and while its male lead, Dharmendra, isn’t one of my favorite actors, I do harbor a lot of good will toward him thanks to his co-starring role–with Amitabh Bachchan–in the classic Sholay, as well as his appearance in other highly enjoyable films such as Ankhen and Alibaba aur 40 Chor.

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Throne of Fire

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At my age, and with my experience, I shouldn’t fall for it. And yet, on occasion, I’m still taken in by cool posters and cover art. At these times, I actually leave my body and hover above myself, screaming warnings but powerless to prevent my corporeal self from plunking down a wad of cash on a movie that has a cool looking cover. “You fool! You know the movie isn’t going to be anything like the cover!” my spirit cries, but alas his words are unable to prevent the transaction. And so it is I end up owning movies like Throne of Fire, a dreary, slow-moving, largely uninteresting Italian sword and sorcery film with a cover that featured an illustration of a big-breasted nude chick swinging around a sword and wearing a little metal thong. “This looks pretty good,” I said to myself, even as my other disembodied self was shouting, “Dude, seriously! That chick probably never even shows up in the movie! Didn’t you learn anything from the cover of Hot Potato???”

Well, I didn’t, and true enough, Throne of Fire never features a sexy, naked Valkyrie type chick swinging around a sword. In fact, it’s the rare sword and sorcery film that doesn’t feature any toplessness at all. The whole thing plays out more like a really bad throwback to 1960s peplum than it does a 1980s sword and sorcery film. Once again, the jazzy, saucy poster art lured me in and let me down. And once again, I learned nothing from the transaction. I’d do it again, I tell ya! I’d do it again! Ha ha ha!


What Throne of Fire lacks in sexy, naked Valkyrie type chicks swinging around a sword it makes up for with plentiful scenes of people sitting around in poorly lit throne rooms discussing events that would be more interesting if they were actually happening on screen instead of just being described to us by bored Italians. Keep in mind that my capacity for liking even the absolute worst of 1980s sword and sorcery films is legendary. I like Barbarians. I like Conquest. For crying out loud, I like Hawk the Slayer and Archer: Fugitive from the Empire! Right now, I’m sitting here and thinking about how I want to watch one of the Ator movies — and possibly all of them!!! And that seems like a good idea to me, and it’s not something I haven’t done before. This past weekend, Krull was on TV, and not only did I watch it, but I also watched it when they did the late-night replay — and I already own that shit on DVD, man! So for a sword and sorcery movie not to get my easy-going seal of approval really has to mean something, I think. Throne of Fire is a bad movie. Not Yor, the Hunter from the Future bad, which is awesome, but regular old boring “is this asshole still explaining the plot to us?” bad.

Taken at face value, the description of Throne of Fire’s plot is as deceptively enticing as the lurid artwork. Satan wants a son so he can plunge the world into darkness, but instead of siring the kid on his own, he sends his messenger. When he becomes a man, the son of…well, the son of Satan’s messenger will sit upon the throne of fire, thereby giving him power to — honestly, I’m not sure, but it probably has something to do with more plunging the world into darkness type of business. Only a hero pure of heart and clad in naught but a loincloth and leather bicep tassels can stop the evil one’s dastardly plan. Also, only the rightful heir can sit in the throne of fire without being set ablaze (something you’d think wouldn’t bother the son of Satan, but since this is the son of Satan’s errand boy, I guess it’s important), so Satan’s ward must also kill the proper king and marry that king’s daughter. In time, you will learn that setting people on fire when they sit on it without permission is the sole power of the throne.


But really, I mean that doesn’t sound so bad, right? Aside from the fact that Satan is too lazy to sire his own son. But then, I guess technically God didn’t do the deed with Mary, so he didn’t sire his own son, either. Seriously, you Christian gods and demons need to take a page out of Zeus’ pick-up artist manual. Now there was a god who knew how to sow his seed. That cat could hardly find time to hurl his mighty thunderbolts, so busy was he getting busy and seducing fair maidens by appearing to them as a shimmering mist of impregnation or a horny silver-furred pygmy marmoset waving its hands wildly and yelling, “I’m king of the gods, baby!” I guess Satan was too busy tempting the souls of good men and pressing Slayer CDs to find time to bang some disinterested lady in a crappy Italian sword and sorcery film.

Anyway, with a plot like the one possessed by Throne of Fire, you figure you’re going to get some random scenes of villages being pillaged, and an old man or woman will probably talk rapturously about how the hero has come to fulfill the prophecy, and then since this is the devil’s adopted son we’re talking about, there will probably be scenes of sweating people being tortured, and there will be an orgy. Hell, that could be the entire plot, with the finale consisting of a plodding sword fight and probably some crudely animated magical ray beam effects. And you know what? I’d be pretty satisfied. But even in the admittedly modest realm of being “at least as good as Iron Warrior,” Throne of Fire fails miserably. And while it does have the prophecy, the torture chamber, and random scenes of pillaging, there is no orgy (Seriously? The son of Satan isn’t going to have an orgy? He isn’t even going to litter his throne room with scantily clad maidens? Lame, son of Satan, lame!), and even the stuff that is present is so unimaginatively staged and so lacking in energy that it hardly even registered. I mean, dudes are pillaging a village and setting huts on fire, and I didn’t even notice.


So where were we? OK, yeah. Satan sends his messenger to impregnate a woman, so that this child may sit on the titular throne of fire, a feat which seems to have absolutely no effect, positive or negative, on the powers of the people who sit upon it. Morak, the son of the messenger of Satan, grows up to be Harrison Muller, who spends his day sending gangs of killers out to perform the most boring acts of pillaging you’re ever going to see. On the plus side, some of them have pretty cool eagle wing helmets. It seems like, given the free reign Morak has with sending around death squads, that he has already succeeded in conquering pretty much the entire crappy kingdom, but people are still talking about the good king on his throne of fire. It apparently never occurs to Good King Fire Ass to send out an army to stop Morak’s band of brigands. Seriously, Morak’s army has like ten guys in it. How can they possibly not be defeated? Maybe if the king spent more time attend to the affairs of his kingdom and less time worrying about his fire throne, he wouldn’t be in this situation. The last time we had a fire king around these parts, he had armies of scantily clad barbarian dudes and was able to fend off attacks from a guy who could hurl icebergs at him. By comparison, Morak doesn’t seem to have any powers at all beyond the powers of prolonged exposition, and still this fire king gets his ass handed to him.

The king eventually falls to Morak, but the princess Valkari escapes. Hey! She does look like the sword swinging chick from the cover, though she keeps what little top she has on through the entire film. Sabrina Siani plays Valkari, and she at least is a welcome sight for eyes that are fast becoming difficult to keep open. She was a staple of the Italian sword and sorcery industry during the 1980s, having appeared shortly before this film as the largely naked evil Ocran in Lucio Fulci’s completely bizarre barbarian fantasy film Conquest, which would be a much more entertaining film to watch than this one. She also appeared in The Invincible Barbarian, Sword of the Barbarians, White Cannibal Queen, and Ator the Fighting Eagle — all of which would be more enjoyable to watch. Yes, even Ator. I never thought I’d find a movie that would make me think, “Man, I sure wish I was watching Ator right now — no, I really wish I was watching Ator III!” but I guess that’s the thrilling part of this job: you always learn new things.


Only one man stands in the way of Morak, the little gang he has, and his mad scheme to do whatever it is he’ll be able to do by sitting on the throne of fire. That man is Siegfried, played by Invincible Barbarian star Pietro Torrisi. Pietro is a huge guy who gives off a sort of “Brad Harris with a perm” vibe, and his career in Italian exploitation was extremely long if unremarkable. He mostly filled uncredited roles, starting out as far back as 1963 with an appearance in The Ten Gladiators. In 1965, after a few more gladiator movies, he made the jump to Eurospy films, appearing in a couple pretty movies starring George Ardisson. Still, his roles were restricted to things like “Bodyguard.” He continued this steady but minor work throughout the spaghetti western trend, the violent cop film trend, and the sexploitation trend.

In 1982, after nearly twenty years in the business, someone finally decided that the post-Conan sword and sorcery boom was the right time and place for Pietro to step up to the plate and take on a starring role. And so he became Zukhan, king of the barbarians, in Franco Prosperi’s Invincible Barbarian. He had another starring role shortly thereafter in Sword of the Barbarians, then was back to an uncredited role in The Iron Master, one of the few Italian sword and sorcery films that has eluded my prying eyes up to this date. And then it was on to the role of heroic Siegfried. At age forty-something, he still looks good, and if nothing else, he handles the action scenes with gusto. It’s just too bad there are so few of them. He spends most of the movie getting captured, escaping, getting captured again, being taunted by Morak, escaping, then getting captured. And to make matters worse, Morak isn’t even a very good taunter.


The movie threatens to pick up when Morak has Siegfried cast down into the Well of Madness, where he will be assaulted by all manner of ghoulish monsters and hallucinations. Unfortunately, the movie doesn’t really deliver on the Well of Madness, and Siegfried is menaced by one guy with blobs of make-up on his face and some spooky underlighting before he is allowed to go about his business. While down there, he happens to find his own father, who has been imprisoned lo these many years by Morak. It turns out that Morak can’t kill the old man because the guy knows the secret of the prophecy that prescribes by when and in exactly what manner Morak must sit upon the throne of fire. He imparts this knowledge to Siegfried, and then just for the hell of it also gives him a spell of invisibility and the gift of invulnerability to anything but fire — which is kind of a lame gift when you are fighting a guy who is about to take over the fire throne. Anyway, there’s a long bit where Siegfried and Valkari keep rescuing each other and then getting captured again, and the whole things finally boils down to the inevitable showdown between Siegfried and Morak. By the time this admittedly competent — especially within the realm of Italian barbarian movies, where the sword fight choreography was often legendarily awful — sword fight occurs, you will have stopped caring, fallen asleep, or coughed up your own skeleton in an attempt to relieve the mind-numbing tedium.

So let me put this in perspective: there is a movie directed by Jess Franco called Diamonds of Kilimandjaro. Even among fans of Jess Franco, it is considered to be terrible and tedious. I am going to give that movie a tepidly positive review and claim that it’s not as boring as, well, as Throne of Fire. Other than the fact that some of the sword fights are OK and the leads look good, I have almost nothing positive to say about Throne of Fire except to mention that Siegfried is a master of gymkata. I go into movies like this expecting to be entertained no matter how awful they are. And I almost always am. And when you put this movie in, and it’s got that topless barbarian woman cover and the first thing you are greeted with is the Cannon films logo and a remarkably crappy synth score, well things seem to be headed in the right direction, at least to me. But it doesn’t take long for you to realize that you’d be much better off watching one of Cannon’s other cheap-ass barbarian films, possibly Adventures of Hercules. Anything would be better than Throne of Fire.


Although you can’t fault Torrisi and Siani for their one-note but largely competent performances (relative to the performances one usually sees in these types of movies), there is plenty of blame to be spread around among the writers and director. By this point in his lengthy career, Franco Prosperi should have known better. Way back when, he helped write the script for Mario Bava’s Hercules in the Haunted World, one of the very best peplum adventures and arguably one of the best fantasy films of all time. He was originally slated to be the director before Bava took over. He must have died inside the day Bava took on directorial duties for Hercules in the Haunted World, because shortly thereafter Prosperi settled into a career of churning out scripts and doing directorial duties on a slew of sleazy mondo exploitation films. By the time he was tapped to direct a couple sword and sorcery films in the 1980s, he must not have given a damn about anything. His direction in Throne of Blood is as listless and boring as the script, and while me manages to keep everyone in frame and in focus, he doesn’t put much effort beyond that into things. Frankly, though, I guess it’s hard to blame him. After Throne of Fire, he decided to direct and a write a couple Cannibal Holocaust rip-offs. Cannibal Holocaust rip-offs…think that one over for a few minutes.

Complicit in the crime of boring me to tears are writers Giuseppe Buricchi and Nino Marino. Between the two of them, they had almost zero experience writing scripts, and their lack of ability shines through in every scene. There is no sense of pacing, not a single moment that generates even a spark of excitement. The dialog is dull and pointless and abundant. The entire thing is lazy. Why is the son of Satan’s messenger doing all this instead of the actual son of Satan? Why does the son of Satan’s messenger need a Christian friar to perform his wedding ceremony? Shouldn’t he have his own devil-y friar? Why is the good king so easy to beat? Why do all the peasants killed in one scene show up again, alive and well, a few minutes later in another scene? OK, OK — that one we have to blame on Prosperi. The only bright spot in the entire dismal affair is a single gag where Morak agrees to let Valkari’s people free. He then proceeds to shoot them in the back with arrows as they try to leave. But hey, at least they were free. Still, a ten second gag in ninety minutes of undiluted dullness hardly makes for a film worth recommending.

You know the worst thing about Throne of Fire? It’s that I just finished watching the movie and writing a review about how boring it is and how much I hated it. And then I look over at the table and see the bad-ass cover and think to myself, “Hey, Throne of Fire. That movie looks kind of cool. Maybe I’ll watch it…”

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Sinbad of the Seven Seas

I can anticipate a lot of things that would potentially show up as the first shot in a Sinbad the Sailor movie (as opposed to Sinbad the Comedian movie, though I can also imagine the first shot in that movie as well, and it’s Sinbad making an exaggerated screaming face and running away in fast motion from a poopy baby diaper), but one thing I never expected was a still shot of Edgar Allen Poe. It’s that same one everyone uses when they need a photo of Edgar Allen Poe. Maybe that’s the only one. I don’t know. I also didn’t know why Poe would be associated with the opening of a Sinbad the Sailor movie, though I could understand it in a Sinbad the Comedian movie, what with the macabre and all.

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Return of the Bastard Swordsman

1983 was an exceptionally big year for Hong Kong cinema. Ching Siu-tung’s Duel to the Death, Tsui Hark’s Zu, and Project A featuring the first major on-screen teaming of Jackie Chan, Sammo Hung, and Yuen Biao, all hit the screens during that year. So did Aces Go Places II, a sequel to the wildly popular Sam Hui-Karl Maka action comedy of the previous year. It was a good time to be the Hong Kong film industry. Things were up in the air to be sure, as they often are during a rebirth, but there was no getting around that this was a year of incredible, ground-breaking films.

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Bastard Swordsman

This is one of those movies that, upon completion, I can’t wait to sit down and write a review of. And then, when I do sit down, all I can do is stare at the blinking cursor on a blank screen as I wrack my brain mercilessly for some way to encompass in words the absolutely bonkers display of sheer lunacy I’ve just watched. This often happens to me when attempting to write about especially weird kungfu films, because as fans of kungfu films know, nothing — and that includes Alexandro Jodorowski movies — is quite as weird as a really weird kungfu film. With Jodorowski, one can at least ask oneself “what the hell was this director thinking?” then engage in all sorts of research and philosophical debate pertaining to the meaning of his films. Yes, they are excessively weird, but they are not undecipherable. With enough thought, you can attain some degree of understanding as to his purpose and message.

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