A fairytale about a young girl attempting to navigate the many predators surrounding her becomes an allegory for the challenges of womanhood and the trials faced by then Czechoslovakia in the face of Soviet aggression. When it comes time to … Continue reading Valerie and Her Week of Wonders
Vampyr is a silent film with sound, a surreal parade of images that found itself caught uncomfortably in between the end of the silent era and the dawn of talkies. A critical and commercial failure in its day, it is … Continue reading Vampyr
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 … Continue reading Moustaches, Magnums, and Men
If you took special effects film pioneer Georges Melies and combined him with stop motion animation genius Ray Harryhausen and surreal fantasist Terry Gilliam, then taught him to speak Czech, you’d have a film maker very close to Karel Zeman. … Continue reading The Fabulous World of Karel Zeman
The first ten minutes of Vahsi Kan are perhaps the purest and most potent distillation in existence of the Turkish action film as interpreted by exploitation kingpin Cetin Inanc. They are also ten of the seediest, sleaziest, most hilariously lascivious and violent ten minutes you’re likely to see this side of the opening montage from Takashi Miike’s Dead or Alive. It’s made even sleazier by the fact that, due to a crackdown on nudity by Turkish film censors — who had previously tolerated a surprisingly vast amount of perversion and decadence in the 1970s — there’s no actual nudity on display. Somehow, the simple honesty of a bit of gratuitous nudity would have made the opening minutes of Vahsi Kan substantially less dirty, which is the glorious blow back that often results from censors mucking up the works.
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.
Hong Kong stuntman-turned-star Lam Ching-Ying made a whole slew of vampire comedies following the success of his turn in 1985’s Mr. Vampire, and Vampire vs. Vampire is inarguably one of them. Coming on the heels of two official Mr. Vampire sequels, the film stands out for a couple of reasons, not the least being that it marks Lam’s debut as a director. But, to me, the most interesting aspect of Vampire vs. Vampire is the fact that it pits Lam’s character against a Dracula-like, Western style vampire — rather than the jiang shi, or hopping vampires, seen in the previous entries — and in doing so sets some choice gothic elements against the series’ familiar backdrop of Chinese folk magic.