Until the mid eighties, the costumed superhero as we know him in the West was a figure largely absent from Indian cinema. The primary exceptions were those intermittent attempts to appropriate the Superman character that seem to dot the history of modern South Asian film, such as the competing attempts by directors Mohammed Hussain and Manmohan Sabir, Superman and Return of Mr. Superman, which were both released in 1960 and , curiously, starred the same actor, Jairaj, in the title role.
During the 1970s, Japan’s Nikkatsu Studio became famous, and yes most likely infamous, as the number one home for sleazy sexploitation, violent pink films, and just softcore porn in general. Although hardly the stuff of highbrow cocktail party conversations, the thoroughly exploitive nature of the Nikkatsu films doesn’t mean there wasn’t a lot of boldness and innovation thrown into the mix, resulting in more than a few highly enjoyable and daring films. Yeah, there was a lot of crap, but there’s always a lot of crap, and usually even the crap had something about it that was so bonkers and just not right that you couldn’t help but nod your head in its direction. In other words, where as Europe during the 1970s was constantly making ponderous, over-inflated films that begged the question, “Is it art or is it porn?” Nikkatsu was more concerned with generating the answer, “I don’t know if it’s art, but it sure is cool.”
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.
God help me, I love Santo y Blue Demon contra los Monstruos. I love it like you love a three-legged dog. Sure, my love may be tempered by pity and mild derision, but I love it, nonetheless. And hopefully you do, too. Because, if not, we’re going to have a problem. Santo y Blue Demon contra los Monstruos marked the 23rd screen appearance by its star, a man who entered the world as one Rodolfo Guzman Huerto, but who achieved legendary status in the world of lucha libre as El Santo, the Man in the Silver Mask. Santo was in his early fifties at this point, but, despite his prime wrestling years being behind him, his iconic status in Mexican popular culture was undiminished. In fact, he was still fairly early in his screen career at this point, with another couple dozen films ahead of him.
You know, some people would sit down with pen in hand and engage in multiple viewings of a great and respected movie, taking meticulous notes pertaining to various aspects of said film that would promote intellectual dialog amongst high-minded luminaries in the field of film criticism and analysis. I, on the other hand, did much the same thing with Space Thunder Kids, and by “high-minded” I mean low-brow, and by “meticulous notes” I mean drunken ranting, and by “pen” I mean bourbon. Trust me, a bottle of bourbon is all that’s going to get you through the brain-frying glory of Space Thunder Kids, a film so utterly confounding, so dazzlingly inept in every single way imaginable, that it achieves an undeniable aura of the sublime that glows so brightly it threatens to blot out the rest of existence. And if you are worried that perhaps drinking an entire bottle of bourbon during a single movie could be detrimental to your health or to your comprehension of what you are watching, I say to you, “Have no fear, for Space Thunder Kids defies comprehension, and by the end of it you will be mopping up your own brain, which will have melted and oozed out the corner of your eyes as you vomit up your own intestines Lucio Fulci style.” The bourbon only makes it hurt less.
Now if that isn’t a good review, I don’t know what is.
Back in 1996, it seemed so unlikely that of all the action heroes in Hong Kong, Donnie Yen would be the one called on to foil Satan’s foul schemes. But now it makes a strange kind of sense that Donnie Yen would, well, not so much punch the Devil in his face as knee the Devil’s Envoy repeatedly in the ribs and once in the jaw, because here we are and Donnie Yen is the state-sponsored inheritor of Bruce Lee’s sifu and nunchaku. Who else is left?
I had to watch this movie more than once to verify that George Lazenby actually has more dialog than just, “Hmm? Hmmmmm,” mumbled with that smug chin-in-the-air look as if to say he has discovered something important and must now jut forth his chin and stroke it slyly. Who the hell does he think he is? Mr. Bean? He does have a few other lines, but for the most part, he just hums through the whole movie. I know this isn’t the best way to kick off a review, but come on! Speak, damn you! This isn’t Quest for Fire.
Look, I never said I was proud of the things I liked when I was kid, alright? And I’m even less proud of some of the things I watched now, some twenty years later, all excited about realizing how stupid they are only to realize that while, yes, they are pretty stupid, I still don’t dislike them nearly as much as I probably should. The fact of the matter is that those movies I saw as a wee sprout camped out on the floor of my friend’s house soaking in the warm glow of satellite television absolutely will not budge from their lofty spot of “fun” no matter how much rational thought and taste I apply in my vain attempt to dislodge them, and you all know that I am, if nothing else, a man of impeccable taste.
If you ever want to see a scene that perfectly captures a heady air of decadence and mania without going all over the top and Caligula on you, look no further than the scene in Josef von Sternberg’s The Shanghai Gesture that introduces us to the opulent gambling parlor operated by the enigmatic Mother Gin Sling (Ona Munson). Centered above the main gambling floor, the shot assumes a bird’s eye view of the hall and its inhabitants as it spiral downward into the fray, where people drink, gamble, and flirt with an orgiastic glee as the delirious music swells. It’s an incredibly effective and a perfect way to sum up this oddball noir drama set in the indulgent underbelly of Shanghai just prior to World War II.
If you can roll with the first five minutes of Scorpions and Miniskirts, a movie that shows utter contempt for bothering to explain anything at all or connecting one series of actions to the next, then you are probably going to be able to walk away from the viewing experience with a mild sense of having been entertained while, at the same time, feeling like you didn’t quite get everything for which you’d hoped from a movie with a title as wonderful as Scorpions and Miniskirts. After all, Scorpions and Mini Skirts is a title that demands the benefit of the doubt, like Werewolf in a Girl’s Dormitory. Anyway, Scorpions and Miniskirts begins with an initial minute that seems like the movie might earn its more giallo sounding alternate title, Death on a Rainy Day. We open with a funeral, complete with all the bell-tolling gravitas of a continental Gothic horror film. If Peter Cushing stepped out wearing a pilgrimy black Puritan minister’s outfit, it would not have seemed out of place. Surrounded by weeping mourners, accompanied by glum James Bernard sounding music, a coffin is lowered into the ground. The eulogy begins, and as dirt is being shoveled onto the coffin, the lid suddenly creaks open…