Ramesh Lakhani is a director I know very little about, and I’m not entirely certain I need to know much more than that. Judging from his typically incomplete online filmography, his specialty, if indeed he can be described as having one, is making cheap, crappy movies with the same title as a better made, more beloved, more famous film. Thus he is the director of Shiva Ka Insaaf, but not the one starring Jackie Schroff, and Kabrastan, but not the one directed by Mohan Bhakri. Now when you are trying to cash in on a director as disreputable as Mohan Bhakri, that’s really operating at an advanced level. However, despite what that knock-off resume implies, it seems that Lakhani has at least some degree of competency as a film maker. Or at least, he has more than is usually evident in this goofy world of Indian horror films.
Man, what is it with the directors of z-grade Indian horror films sharing names with yoga masters who have lots of information about themselves on the web? Don’t these yogis know that their online self-promotion makes it harder to find information about the director Harinam Singh, or in this case, Kishan Shah? And what is a yogi doing with a web presence anyway? Shouldn’t he be balancing on one leg in a cave somewhere in Rajasthan?
My odyssey through the strange world of Russian fantasy films began in earnest many years ago, when I moved to a prominently Russian and Ukrainian neighborhood and started prowling around the DVD stores of Brighton Beach, Brooklyn. Up until then, I’d caught glimpses of this strange and wonderful looking avenue of cinema in the form of dubbed and edited American versions of the films, where Ilya Muromets became The Sword and the Dragon and Sadko became The Magic Voyage of Sinbad. These movies made regular rounds on broadcast television back when I was a kid, and I loved them without having any idea they were Russian fantasy films tailored by crafty American distributors to become nationless adventure spectacle. They were colorful, they were full of monsters, and they had lots of guys with swords running at each other. When I crept a little closer to old age, I decided I wanted to find the original versions of the films — much as I did with Eastern Bloc science fiction films — not just to see what had been changed, but also to see them in a better quality than I’d enjoyed on independent broadcast television with rabbit-ear antennae reception.
I wish there was a better way to describe the late, Javanese-born actress Suzzanna than as “the Queen of Indonesian Horror”, but that title is as accurate as it is shopworn. Over a career that spanned more than three decades, Suzzanna — born Suzanna Martha Frederika van Osch — starred in dozens of features, most of them in the horror genre, and portrayed a wide variety of formidable, supernaturally empowered women, including various figures from Southeast Asian folklore and even a distaff version of Freddy Krueger.
My introduction to Hong Kong cinema came in the form of a crash course between the years of 1991 and 1993, when I began to discover and voraciously devour a seemingly endless parade of mind-blowing films made in the past decade. Finding the movies was hard. Finding information on them was even harder, but there was an explosion in the popularity of these films among cult film fans in the United States around that time, so though it took some leg work, we soon found that we were not alone. Together, then, we stumbled through the dark, trading tapes, raiding Chinese grocery stores that stocked videos, writing reviews for one another, publishing fanzines, and doing our best to spread, pre-internet style, every scrap of information we were able to dig up on these amazing movies. In the course of two weeks (maybe less), I think a few friends and I huddled around my massive 10-inch screen TV and watched A Better Tomorrow, The Killer, Swordsman, Zu, Once Upon a Time in China, and A Chinese Ghost Story. We sat there another week and just drooled. Though I love each of those movies, there was something about the elegance, beauty, and melancholy of A Chinese Ghost Story that made it stick out as my favorite of the time. Decades later, it’s still one of my absolute favorite movies.
Old Hong Kong movies use the presence of a Taoist priest as a license to print crazy, despite the real world practice of Taoism’s emphasis on quiet contemplation and equilibrium with nature. As these filmmakers would have it, that age old philosophical tradition is all about people shooting cartoon lightning bolts out of their hands, repelling one another with weapon strength, supersonic laughter and, of course, watermelon monsters. In short, exactly the type of religion that might get me to turn my back on my secular ways once and for all.
Researching the history of Japanese yokai in cinema is a difficult task. At least, it’s a difficult task if, like me, you don’t read Japanese and are kind of lazy. Almost all of the English language writing about movies involving these bizarre and multitudinous creatures from Japanese folklore focuses on the three loosely related yokai movies released by Daei in the late 1960s — Spook Warfare, 100 Ghosts, and Along with Ghosts — or on Takashi Miike’s more recent take on those old movies, Great Yokai War. A few people will talk about the history of yokai in popular Japanese culture and the role Shigeru Mizuki and his manga series, GeGeGe no Kitaro, played in turning this bizarre assembly of ghosts, demons, monsters, and goblins into pop culture icons. But beyond that, the field of cinematic yokai studies is largely empty even though, as Ghost Stories of Wanderer at Honjo illustrates, someone was out there making yokai movies even before Mizuki published his comic book.
In 1948, French artist Jean Dubuffet coined the term art brut, a phrase which became “outsider art” in 1972 when critic Roger Cardinal imported it into the English language. It referred to works of art created outside the boundaries of general culture. Specifically, it was art created by someone like an inmate in an insane asylum. Over time, the term was applied to a broader audience, but the key element remains that the art is a reflection of a mental state beyond that of even the average crazy guy. This is not the same as an established art movement that is consciously seeking to do something “outside the mainstream.” An artist can’t rationally decide to make art brut. As Dubuffet himself describes it, art brut can’t be created by anyone who functions as part of regular society, even regular art society, and so this form of fierce and feverish creativity remains the sole purview of madmen and terrifying backwoods hillbillies who make sculpture out of cat skins, metal drums, and human skulls.
Tsui Hark’s one modest ambition in life was to forever change the way movies were made in Hong Kong. Just that. A small order, right? The amazing thing is that he managed to pull it off. His work in the early 1980s served as one of the foundations of what would become known as the Hong Kong New Wave — that heady period of filmmaking from the 1980s through to the middle of the 1990s when new filmmakers and new styles of filmmaking were running rampant and turning Hong Kong into the most interesting movie making mecca in the world. It’s no accident that Hark found himself in the middle of this cinematic upheaval, just as it’s no accident that what happened in Hong Kong then so closely mirrored what had happened with American filmmaking in the 1970s. The old guard was puttering along, making movies that were out of touch with what young filmgoers wanted. The hungry new generation was waiting to bust out from under the thumb of their mentors and flood the market with bold new approaches and ideas. And finally it got to the point that the next generation could not be contained. They took control, and nothing was the same again.
Oh Death Spa, what have you done? All those years I spent bad-mouthing slasher films from the 1980s, then you go and immediately make yourself one of my all-time favorite horror films by being one of the most cracked, absurd examples of horror film making one is likely to stumble across. It’s probably because you actually have less to do with the American slasher films that permeated the horror scene during that prolific decade and instead can count yourself the peer of batshit insane Italian horror films from the same decade. You are less Jason Vorhees and Friday the 13th and more Lamberto Bava and Demons. I loved you when in the first five minutes you gave me Ken Foree in micro-shorts, full frontal nudity, and attempted murder by steam room. But then you just kept piling absurdity on top of insanity, so that by the time we got to the frozen flying eel, I was willing to pledge my very soul to you.