On the Cultural Gutter, Over the Moon, Comrade is my look at the Soviet science fiction adventure Cosmic Voyage and the film that inspired it, Fritz Lang’s Woman in the Moon.
On The Cultural Gutter, I’m fighting the Battle of the Brains, a look at the classic B-movie Fiend Without a Face.
On the surface, The Wicker Man is the story of how one police constable’s attempt to scrooge up a town’s May Day revelries fails miserably. But The Wicker Man is a film with complex depth, and delving into those murky waters is aided considerably by a few of the key texts that went into crafting the film’s story.
Although one certainly cannot dismiss the impact of World War II on the United States, it’s an order of magnitude more shocking to witness the devastation wrought across Europe. For all our suffering, we could come home to a country that remained largely untouched by large-scale conflict. Those in Europe, however, were already home.
A double agent operating in London dreams of retiring, but his life is complicated when he is assigned to assassinate a traitor: himself. With one foot in the pop art fantasy of James Bond and another in the grim world of John Le Carre, A Dandy in Aspic never quite succeeds at being either.
Testi plays Milo, a small-time hood who, when the film opens is lugging his wounded buddy through a field after a heist that has apparently gone rather poorly. His friend dies, and Testi buries him in the field before getting arrested and ending up in a jail run by Oliver Reed’s Vito Cipriani.
Born in the Dutch town of Utrecht, Sylvia Kristel grew up the daughter of hoteliers. Living in a hotel provided her with, if not exactly a conventional childhood, certainly an interesting one, as the rotating cast of oddball characters that show up at a hotel provided a surreal background.