Ho hum, the mummy again. That wouldn’t normally be my reaction, as I’m rather a fan of mummies and the havoc they wreak upon the living, but this entry into the Hammer compendium of vengeful Egyptian crypt guardians manages to do very little beyond eliciting a yawn. The Mummy’s Shroud’s problems are several, and not the least of them is the fact that it fulfills what seems to be the mummy’s curse demanding that all mummy movies be more or less exactly like all other mummy movies. This was Hammer’s third mummy movie. There is practically nothing at all on display in this film that is surprising. The plot is a rehash of the tried and true and terribly over-used mummy movie plot involving an expedition that disturbs a mummy’s tomb only to have some mad Arab resurrect the mummy and send it out to kill those who desecrated the temple. Honestly, the things you can do with a mummy are rather limited, so the spark in the story must come from telling it in a unique fashion or injecting some new element into the proceedings to keep them, at the very least, fresher than the cloth-swathed ghoul delivering terror on the screen.
I can’t remember exactly how it was I stumbled across the first in Gail Carriger’s Parasol Protectorate series. It was most likely a title dropped in passing by Veronica Belmont on the Sword and Laser podcast, coupled with the book then appearing on a Goodreads list of the best steampunk books. So I guess I take that first sentence back. Apparently, I remember exactly how I first heard of the book. Let’s move on, shall we? Anyway, it was a book well worth stumbling onto, and since finishing it, I’ve become a huge fan of the series and its author. The blend of supernatural shenanigans, romance, adventure, steampunk, and dandy vampires all wrapped up in a Victorian comedy of manners style tale was exactly the sort of breezy — but not unsubstantial — book for which I’d been hoping. Needless to say but here I am about to say it anyway, I was pretty excited to move on to the second book.
I read a lot, but that reading happens only in a few specific genres. Predictable ones if you’ve read anything on Teleport City — science fiction mostly, with a tiny smattering of fantasy, and a healthy dose of non-fiction ranging from military history, travelogues, and anything where Teddy Roosevelt punches out a rhinoceros and gets malaria while exploring some remote niche of the globe. Perhaps somewhat surprisingly, given my fondness for horror films, is that I read almost no horror fiction at all. I don’t know why this has traditionally been the case. What I read in the past just didn’t click with me. I mean, there was some Clive Barker, sure. Everyone in the eighties read Clive Barker. But the Barker I liked skewed much more toward the fantastic than actual horror — Weaveworld, The Great and Secret Show, Everville, and Imajica.
The special thing about Turkish pulp films is how, even at their most plagiarized, they can serve as an example of just how unique a complete rip-off can be. After all, no one ever mistook Turkish Star Wars for regular Star Wars, or Bedi, the Turkish E.T., for E.T., the American E.T. And the same goes for Seytan, director Metin Erksan’s almost ludicrously faithful remake of The Exorcist.
If you wanted to live in the Philippines, it would help if you really, really liked Jesus. A lot. With a Catholic majority of at least 85%, the nation is the third largest predominately Catholic country on Earth, and the largest in Asia (with East Timor being its lone competition). And, for the most part, we’re not talking about fair weather Catholics, either — say, the types who only make it to mass on Christmas and slack off for the rest of the year — but instead Catholics of an especially devout nature. Did I mention that their Christmas season lasts longer than that of any other country on Earth? That‘s a lot of masses.
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.
Since my initial foray into the world of modern no-budget Indian horror, I’ve applied myself enthusiastically to watching more and more movies of the same type. And while I am indeed assembling an impressive — some might say terrifying, others might say unfortunate — collection of such movies, information on them and the people making them remains elusive. But I’ve bellyached about that in the past, and at some point we’re all going to have to simply suck it up, deal with the fact that we’re going to be watching these movies half in the dark, and then get on with things. So it is that I decided if I can’t glean from the world a whole lot of information about Harinam Singh (though I live, still, in anticipation of the day he Googles his own name, finds my site, and gets in touch — hey, it worked with Bobby Suarez!), then I might as well just get to know the man better through his films. Stabbing blindly into the man’s filmography, the next delicacy I came up with was a little something called Gumnam Qatil.
Every time I sit down to muddle my way through another cheap Indian horror movie, I assume that I’m not going to have much new to say about it that wasn’t said in a previous review, that eventually they would start to look so much alike that I would pretty much use up all my ammo and have nothing else worth shooting at. But so far — and we’re still, frightening as this may be, at the very beginning of our journey — each new movie I watch ends up being weird and incompetent in a way that, while similar to previous films, is also completely unique, allowing me to latch onto some tiny branch and inflate it into a full review. I’m sure I’ll run out of steam eventually, but for now, the ride still manages to surprise me no matter how prepared I think I am ahead of time. Eventually, and in typically convoluted, non-linear fashion, we will weave together, as best we can, a loose history of the Indian horror movie and its common themes. Along the way, though, we’re going to watch a lot of movies featuring guys in store-bought gorilla suits.
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.