I’ve got a weird fascination with superhero movies from places other than the USA. Since X-Men (2000) and particularly Spider-Man (2002) demonstrated the possibilities of adapting comic books with a previously unthinkable level of faithfulness to the source material, superheroes have become a staple of Hollywood’s output. And with cash tills ringing in spades for all manner of four-colour-inspired heroics (as I write, The Avengers is already the third-highest grossing film of all time and still in theatres), it’s no surprise that overseas producers began to wonder at the possibilities. Some looked to their local comic properties for inspiration, such as with Hong Kong’s ‘a bit like Batman but played by Michelle Yeoh’ effort Silver Hawk. Elsewhere, filmmakers just borrowed wholesale from American films, as with Russia’s ‘Spider-Man with a flying car’ Black Lightning, or Thailand’s ‘Spider-Man… actually just Spider-Man’ cash-in Mercury Man. And of course Bollywood, boasting the biggest film industry in the world, was hardly going to miss out.
It was assumed when the Twilight novels and movies took over the universe, that we would be inundated with similar works of weepy, melodramatic teen supernatural romance. While that may have been the case in literature — assisted no doubt by the fact that self-publishing for e-book readers means anyone with enough determination to finish a book could get it published and sold on Amazon — the same thing didn’t really happen in film. There was a similar unfulfilled expectation when Harry Potter was the king of the hill, and we all assumed there’d be a billion little boy wizard movies. Despite it’s astounding popularity, only a few cinematic cash-ins ever saw the light of day, and they weren’t all that successful (I don’t think many people are demanding the next installment of the Percy Jackson series). I guess now you can throw Hunger Games into the mix as well. Young adult supernatural fantasy may rule the pop literary world these days, but it didn’t really succeed in setting aflame the big screen, or even the small screen. You’d think that, if nothing else, the direct-to-DVD or direct-to-Netflix-streaming world would be stuffed to the gills with dodgy young adult vampire romances and such, but that’s not the case. And yes, I’ve looked. All I found was a bunch of cheap, shot on digital video Fast and Furious rip-offs, which naturally, I immediately added to me queue.
When I was a kid, my uncle on my mom’s side was a weight lifter. Bear in mind that my uncle was not that much older than me, and so he fulfilled the dual role of uncle and older brother, with all the Indian burns and red bellies such a relationship demands. Having a weight lifter for an uncle meant several things. First, it meant that I was destined to get a pair of Zubaz for Christmas– the classic ones, with the turquoise, black, and white tiger stripes. Second, it meant that I was going to be leafing through bodybuilder and power lifting magazines. My grandparents house was stuffed to the gills with copies of Field and Stream, but as I was neither an avid hunter nor fisher, Field and Stream was even less interesting to me than the marathon sessions spent int he basement listening to records full of nothing but turkey calls. And so when I needed to pass the time doing something other than playing Nintendo, I would leaf through the weight lifter magazines which, for some reason, contained endless amusements for me — the best of which was an ad for some contraption or other probably mean to improve your curl form that boasted the legendary slogan, “It’ll kick your butt so you can go out and kick somebody else’s!”
Ahh, Ruggero Deodato. Is there anything he can’t make weird? Although best known for cannibal atrocity films like Cannibal Holocaust, Deodato was no different than any other workhorse of the Italian exploitation industry, in that he worked in pretty much every genre that required exploiting. He made cop films, kiddie films, sword and sorcery films, horror films, sexploitation, and in the case of Raiders of Atlantis, a film that manages to steal from both Road Warrior and Raiders of the Lost Ark, and maybe a bit of Seatopia from Godzilla vs. Megalon, in a way that keeps the end result unique despite the lack of originality in its individual parts. Deodato certainly keeps his genre films offbeat, if nothing else.
There is perhaps no other filmmaker who is as devoted in his opposition to subtlety as Indian director K.S.R. Doss. While I’ve fallen hard for Doss’s comic book world of kung fu cowgirls, thunder crash aided exposition, and careening camera angles over the past couple of years, it’s certainly not the place to visit if you’re looking for something that smacks of nuance or delicate shades of meaning. Doss (or “Das”, as it’s also written) hasn’t thus far received a lot of coverage from the English language blogs and sites dealing with Indian popular cinema. For one, his films, most of which were made in the 1970s, are just not that easy to come by. Unsubtitled VCDs or gray market DVD-Rs are about your only option in that regard, and even so, what’s available represents only a small fraction of his output. His obscurity is also in part due, I think, to him being more associated with the Telegu language cinema of Southern India than with the more widely recognized Mumbai-based Bollywood film industry.
There are those in the world who write about the career of Rutger Hauer in much the same way that other people write about the film career of Elvis Presley, the general approach being one of “ain’t that a damn shame?” Hauer made a name for himself in America when he appeared in Ridley Scott’s seminal dystopian sci-fi masterpiece Blade Runner as Roy Batty, the leader of a gang of renegade androids being hunted down by Harrison Ford, presumably because they kidnapped his family or were on his plane without first obtaining the proper permissions. Hauer was already a familiar face to the ten non-Dutch people who watch Dutch films, and among that small population, the five fans of Dutch cinema who would actually watch Paul Verhoven films. When he appeared as a ruthless terrorist in Night Hawks, people started to take notice. Here was something interesting about the guy. And something scary. When a screenwriter told you Rutger Hauer was a murderous madman, you believed them.
Among the many things that puzzle me in life is the question of why there aren’t more horror films set amidst military conflicts and wars. Not that aren’t any, but there aren’t nearly as many as one might think, giving how easily wartime settings should lend themselves as backdrops to horror films, to say nothing of the fact that it was the landscape of World War I that informed the art and set design on many of the old Universal and German horror classics. That conflict in particular, with one foot in the horror of modern warfare and the other in…well, the horror of 19th century warfare, seems particularly well suited for horror films. The strange combination of Industrial Revolution weapons and vehicles with ornate imperial uniforms, peasants, kingdoms, horse-drawn artillery, and of course, No Man’s Land, trench warfare, bombed out old European buildings and castles — horror films set amongst this carnage seem to practically write themselves, and yet wartime horror films are all but non-existent.
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.
The horror boom in Japan didn’t have any one cause, but it did have one big ingredient that made it a success: young girls. Under normal circumstances, saying that young girls were a key to the success of anything horror related would mean that young girls, possibly in wet white shirts, were prominently featured in the film and probably died gruesome deaths. In this case, however, the young girls weren’t the ones doing the dying; they were the ones doing the buying. Someone somewhere had the bright idea to start running horror comics as a regular part of some very popular manga magazines (big, thick comic books the size of telephone books) aimed at teenage girls. What they found was that teenage girls love horror stories. It goes against conventional wisdom. In the West, horror has always been marketed to males roughly between the ages of thirteen and thirty. It was never seen as a genre for girls, most likely because the woman-hating misanthropes behind the films delighted in tormenting and degrading women every chance they got as a way of getting some weird little sort of revenge for having been snubbed at some point in their lives. Even when women were featured prominently as a story’s protagonist (as was often the case), most films were peppered with plenty of other female characters to shoulder the brunt of the film’s viciousness.
Scary movies are hard to come by. Gory? No problem. Sorta cool and creepy? Sure, we got those in spades. But genuinely scary movies are rare as diamonds and, to be, infinitely more valuable. There is something wonderfully affirming about watching a movie that keeps you awake at night, that gives you eerie nightmares. There’s something wonderful about a film that makes you afraid to get up in the middle of the night to go to the bathroom, or that makes you nervous about the fact that the closet door is open just a crack. It’s a delightful rush of adrenaline and apprehension, but scary movies have almost become a thing of the past. Too often, people are simply interested in delivering (and having delivered to them) flashy special effects and “style.” Thus a scary movie like the classic The Haunting gets turned into another “dazzling feast for the eyes” that leaves the soul and the brain still hungry for more. Bring on the scare, man! I can watch any hundred films for cool special effects, but the well from which to draw truly frightening films is well nigh dried up.