I wouldn’t claim The Mighty Gorga is an enjoyable viewing experience, but I found it fascinating never the less, for the same reasons I’m fascinated with films like Death Curse of Tartu or whatever weird stuff Doris Wishman was cranking out at the time.
In retrospect The Land that Time Forgot would have been a poetic place for Amicus to end — with volcano erupting, boat sinking, and its stars facing a seemingly hopeless situation. Instead, they decided to show us the aftermath of the collapse, and give us Milton Reid in a skimpier outfit than Sarah Douglas.
It looks beautiful, the actors and the characters that they play are incredibly appealing, the action is wonderfully staged and literally non-stop, and the atmosphere is so rich with romance and intrigue that it’s enough to send you into a ninety minute swoon.
Sadhana would get her wish and be remembered as a heroine, even though the most indelible image to be taken away from the film might not be so much one of her heroic exploits as it would be her being whipped while wearing a white mini and go-go boots by a guy who looks like a Village People version of a medieval blacksmith.
If the world was just and kind, then the sentence, ‘It’s a movie where Vincent Price stars as a madman who rules over an underwater society of fishmen prone to kidnapping scantily clad beautiful women,’ would indicate the existence of probably one of the greatest films ever made.
There’s just something about the combination of the Western genre’s Spartan, rough-hewn aesthetic with Bollywood’s tendency toward the exuberant and phantasmagorical that I find hard to resist. If you want to join me in this new obsession, Kaala Sona is certainly a good place to start.
Aside from plenty of fun dinosaur and caveman adventure, The Land that Time Forgot offers up really one of the most downbeat and apocalyptic endings of any movie aimed at kids.
The Pirates of Blood River is still a solid adventure tale, with plenty of action, a dependable cast, and a look that fools you into thinking this is a much higher budget film than it actually is. It’s nice to see these old Hammer swashbucklers getting some attention.
I’ve mentioned elsewhere that I find the Philippines’ Tagalog language pop cinema of the 1960s strikingly similar to Turkish pulp cinema of the same period. The products of both are comparably rough hewn and action oriented and, by necessity of their staggering volume, bear the hallmarks of being churned out at a very brisk pace….
What with my recent cinematic diet consisting mostly of overheated Bollywood masala movies and plagiarism-filled Thai man-in-suit monster sagas, I’ve gotten well past the point where it’s time to mix things up a bit. And what better respite than to watch some attractive French people screwing and languorously declaiming about the futility of it all?…
Realizing that I was witnessing something completely weird, I threw a tape into my VCR and recorded about 70% of the film. It became one of the most cherished gifts I ever gave my stoner buddy Ken. But I can’t even play the ‘dude, I was so wasted’ card, because I was stone cold sober at the time
To judge the film by its shortcomings would be unfair, because the charms that would mitigate them — all of those things that are wonderful about Insee Thong — are less easy to fully appraise.