Before Salon Kitty redirected his career toward sex films, Tinto Brass was just another idealistic young director looking to capture the zeitgeist of the 1960s. Deadly Sweet was inspired and influenced by Antonioni’s Blow-Up but also markedly different.
The Slow Grind Fever series is a fascinating collections of creepy, crawly R&B in a minor key; some songs and artists major hit makers…others mysterious and obscure. It’s proper music for smoky juke joints, rowdy house parties, and dangerous liaisons.
In the 1950s, film began to move away from romantic or bombastic orchestral scores and toward a more varied landscape. One of the styles that started making its mark on cinematic soundtracks during this period was jazz.
Had Dark Purpose been an hour long episode of a TV show, he would have delivered. But forced to come up with, roughly, three half-hour acts, the movie isn’t dynamic enough to make us forget nothing much is going on.
The Girl Who Knew Too Much is a bit like Roman Holiday if Gregory Peck and Audrey Hepburn got caught up in a murder mystery. It isn’t grim, and it does have a certain spirit to it, but it also dabbles in tense Gothic atmosphere.
Kim is the sort of hardboiled detective story that the pulp paperback industry could produce in its sleep, peppered with enough fist-fights, shoot-outs, and sex to keep the slim volume well-packed.
It’s a cause for celebration when a B movie delivers as spectacularly as Wahan Ke Log does, especially given that its genre elements also have to make room for the singing, dancing and romancing.
For every Martin Denny , there were dozens of other, independent musicians plying their trade in exotica, with strange, stunning, and spooky results. It is these musicians that Technicolor Paradise celebrates.
These days, Bullitt‘s reputation is built almost entirely on the exhilarating eleven-minute car chase. Even people who have never seen the movie have seen or heard about that scene.
On Diabolique, I’m digging into one of the most famous scandals in modern British political history, not to mention Pleasure Girls, the bubbly tale of optimistic young ladies struggling to make it in the big, swingin’ city.
On Diabolique, I’m exploring underground British cinema by way of the BFI Flipside series. First up: wild jazz beatniks on a lust-fueled rampage! It’s Gillian Hills in Beat Girl.
Mars Men kicks off with a little kid stumbling upon a hidden cave in which he finds a small statue of Yud Wud Jaeng. The kid insists on calling him “Hanamajin”, and the rest of the cast follows suit.