“The room was sumptuous with those over-masculine trappings which, together with briar pipes and wire-haired terriers, spell luxury in France. Everything was brass-studded leather and polished mahogany. The curtains and carpets were in royal blue. The waiters wore striped waistcoats and green baize aprons. Bond ordered an Americano and examined the sprinkling of over-dressed customers, mostly from Paris he guessed, who sat talking with focus and vivacity, creating that theatrically clubbable atmosphere of l’heure de l’aperitif.” – Casino Royale, Chapter 5
Arts and entertainment journalist Jep Gambardella has a problem. Standing in the middle of the swanky pageantry of Roman nightlife at the age of 65, he feels more than a bit foolish and, as a result, lost. When first we meet him, it is amid the thumping techno and drunken revelry of a lavish rooftop party that seems initially that it should be the purview of 20-somethings cutting loose in Ibiza. But through it all strides Jep, resplendent in his stylish suit but feeling increasingly out-of-place amid such bacchanal, even though he is still welcome and desirable as a guest. It is not the nightlife that regards Jep as too old to partake in its frivolous revelry; it is Jep himself. Nor is it a condescending dismissal of the life; although frivolous, Jep is genuinely affection and thankful for the good times and is hesitant to let go of them. There is value, after all, in something that gives us pleasure, no matter how shallow it might be. It is simply that Jep now feels his time among these revels has passed. And although quick with an inviting smile, a companionly arm around the shoulder, or a heart-felt raising of the glass, he’s beginning to wonder what the hell he’s doing at his age still strutting around to booming electronica at four in the morning.
People unfamiliar with genre films sometimes have this weird idea that the movies all carry themselves with an air of complete seriousness, that a particular type of film can’t possibly be aware of its own cliches and pitfalls until some smarmy mainstream director steps in and makes a spoof. That spy movies, even James Bond, can’t be aware of their own absurdity. Or that horror has never noticed its own cliches. The fact of the matter is that genre films are far more aware of their own short-comings and trappings than most mainstream films. For better or for worse, genre films — science fiction, horror, sexploitation, action, and so forth – have been self-referential and satirizing themselves since the early days. The Italian sword and sandal films that were so popular during the first half of the 1960s were no exception.
I am back over on the Gentlemen’s Blog to Midnite Cinema, the companion blot for my favorite film podcast, writing about Incredible Paris Incident aka Fantastic Argoman aka half a dozen other titles, as is the way for these kinds of movies. Hovercrafts, psychic powers, robots, and men in banana yellow bodystockings will abound.
I spent the better part of a week in New Orleans, seeking out voodoo hotspots and attending Tales of the Cocktail. My latest Frolic Afield for Alcohol Professor is about one of the many (very good) seminars I attended during that week. Bartender, There’s an Anchovy In My Drink is a look at the Italian Futurist movement and the futurist opinion on cocktails. And yes, one of the cocktails — or polibibita — had an anchovy chunk floating in it.
Frolicking Afield over at the Gentlemen’s Blog to Midnite Cinema again, the official companion to the Gentlemen’s Guide to Midnite Cinema podcast. And this time I’m talking Antonio Margheriti, James Bond rip-off Eurospy films, and Lightning Bolt, a thriller in which the hero tries to avoid conflict by offering to pay his nemesis off, then asks if it’s OK if he pays by personal check.
A new Frolic Afield at a new place. The Gentlemen’s Blog to Midnite Cinema is the written word supplement to the wildly popular Gentlemen’s Guide to Midnite Cinema podcast. And I am over there writing about Covert Action, the movie in which the Eurospy film collides with the Eurocrime film and brings Maurizio Merli along to slap some people.
In 1971, audiences were delivered the message that the freewheelin’ sixties were over, and so were the innocent fifties for that matter, when long-legged Clint Eastwood stepped onto the screen as “cop on the edge” Harry Callahan in the groundbreaking crime thriller, Dirty Harry. Other tough-as-nails cops and private eyes followed in Harry’s cynical footsteps, including Shaft, Serpico, and a guy named Popeye Doyle. This new generation of cop film was a marked departure from past crime films, where guys like G-Man Jimmy Stewart would walk proudly through spotless backlots dispatching ne’r-do-wells with precision shots from six-shooters balanced on their wrist. They were a return to the hardboiled, world-weary detectives of the 1940s. Callahan and his compatriots were angry, disillusioned, and cynical.
Of all the filmic subgenres to come out of Europe during the 60s, the Spaghetti Western is the most macro, containing multitudes. With literally hundreds of entries, it was inevitable that filmmakers would indulge in some hybridization to mix things up, with the results being, among many others, the comedy westerns of the Trinity series, gothic westerns like Antonio Margheriti’s And God Said to Cain, and the Bondian trappings of the Sartana series. Come the late 60s, such filmmakers began to experiment with style and content as well as genre, leading to some of the more “arty” spaghettis that are today among the best of the cycle, such as Robert Hossein’s Cemetery Without Crosses and Giulio Questi’s Django Kill! Arguably the best of all of these was The Great Silence, directed by Sergio Corbucci, who was one of the genre’s founders and trailblazers despite his repeated claim that he hated westerns.
The sad passing of actor Tony Kendall – aka Luciano Stella – back in November of 2009 inspired me to get back on board with the project of reviewing the Kommissar X films for Teleport City. Not that I can say with authority that the Kommissar X films represent the best of Mr. Stella’s work, mind you – I haven’t, for instance, seen Yeti: Giant of the 20th Century, or Hate Is My God, to name just a couple of his many non-Eurospy efforts. It’s just that it’s those movies, and Kendall’s portrayal within them of dick-both-public-and-private Joe Walker, that won him permanent residence in a very special secret space-age lair located deep within my heart.