Jenabel_Regina_del_Mundo's Reviews

The Mersey Sound (1963 TV Movie)

10/10

The FIRST documentary on Beatlemania, and first-rate in every way

22 August 2005

This kind of thing is pure gold to lovers of classic rock and pop culture. Originally broadcast October 9 1963 (which coincidentally was John Lennon's 23rd birthday), this 36 minute BBC special succinctly captures one of the most magical moments in musical history: the birth of Beatlemania. This fueled the Mersey Sound, which turned into the full-scale British Invasion that changed the world.

The footage is absolutely wonderful. The audience: completely, deliriously high on nothing but the music. Remember when Rock'n'Roll had nothing to do with drugs? Neither did I till I saw this. The bands: young, fresh, enthusiastic performing live; intelligent and serious in interviews. The men behind the scenes: most notably British music PR genius Bill Harry. Harry went on to do PR for acts like Led Zeppelin and David Bowie. Even in 1963, it's obvious that Harry knows his stuff. (He has written one of the best books on the subject, "British Invasion: How the Beatles and Other UK Bands Conquered America.")

The cinematography reaches an achingly beautiful apex in the depiction of the city of Liverpool itself.

Much of the footage in this documentary would be plundered time and again for future films, in particular the excellent "Compleat Beatles." This is the origin of the famous interview where Ringo reveals his hairdressing aspirations! (Look fast for Cynthia Lennon under the hairdryer.) I also loved hearing John and Paul talk about forsaking their black leather stage gear for the clean-cut suit & tie look, in order to be taken more seriously as a group. Rock fashion has been through some changes since then!

Beatles live footage was shot August 27, 1963, at Little Theatre, Houghton Street, Southport. (Manager Brian Epstein, interviewed for this film, would be found dead of an overdose 4 years later to the day.) Songs performed are Twist And Shout and She Loves You.

The other bands featured are Group One and The Undertakers. I had never heard of Group One, a skiffle-influenced band before, but their interviews are wonderful, as they talk about poverty in Liverpool, and the thankless task of being opening act for The Beatles. The Undertakers, featuring Jackie Lomax, enjoyed a brief fling with musical fame on the Pye label. Pye tapped into the Liverpool music market early by signing Northern guitar legend Lonnie Donegan, and would be hugely influential in bringing many English acts before the music-buying public. However, Pye committed serious strategical blunders in their promotion of The Undertakers, who soon faded to obscurity. In addition to rare interviews, the band is shown performing their #1 crowd-pleaser (Do The) Mashed Potatoes.

Very exciting to watch. Family-friendly too. FAB! GEAR! SMASHING! To miss it would be dead grotty!

4 out of 4 found this helpful. Was this review helpful? Sign in to vote.
Permalink

Cycles (2003)

10/10

Exquisite, joyous, unforgettable

14 August 2005

"Erzulie... Erzulie... Erzulie..." Film begins with this whispered Goddess invocation. Our heroine is undergoing the rite experienced by all women: awaiting the arrival of her period. It's late this month, and so, she decides to spend the entire day cleaning her home meticulously.

We see her beautifully arranged household altar, with joss sticks burning & fresh flowers, and we understand that this is not mere housework, but rather a conscious act of ritual purification. As she cleans her home, we hear the occasional comments of her sisters: "Progress is being made." "You're doing all right, and you're gonna get better." Having cleaned her home, she luxuriates in a contemplative bath, then retires to her bed and a night filled with magical dreams. The morning heralds the beginning of a new cycle.

This little masterpiece uniquely celebrates the female cycle. A joy to watch, it will remain with you forever after. Exquisitely filmed in glorious black & white. I was fortunate to see this short film showcased on a PBS program hosted by Lee Grant. Make a point of catching this sublime offering if you get the chance!

1 out of 1 found this helpful. Was this review helpful? Sign in to vote.
Permalink

The Fall of the House of Usher (1928)

8/10

Early American Experimental Cinema: USA by way of UFA

23 July 2005

Intriguing early experimental treatment of Poe from the same filmmakers who would bring us the even more astonishing "Lot In Sodom" in 1933. Doesn't compete with the equally avant-garde feature length version made at the same time by Jean Epstein & Luis Bunuel, yet stands well on its own. More of a tribute to UFA & German Expressionism than an outright imitation, with specific nods to Caligari, Der Golem, and Faust. Visually rewarding for lighting, cinematography, sets, makeup. Compiled in a skewed fashion reminiscent of the structure of a nightmare. Captures the wonderfully gloomy, morbid atmosphere of Poe's work, the claustrophobic ambiance of "Usher" in particular. A treat for fans of the genre, in addition to being sufficiently unusual & brief (just over 12 minutes) to hold the average viewer's attention. At one time, this film was available on an anthology videotape called "American Avant-Garde" along with the aforementioned "Lot In Sodom." Great stuff if you're lucky enough to track it down.

15 out of 15 found this helpful. Was this review helpful? Sign in to vote.
Permalink

Sex of the Witch (1973)

8/10

Big fat juicy slab of Eurotrash oozing with sleazy goodness

18 July 2005

Who can resist a flick whose title, translated into English, is "The Sex Of The Witch?" From the first scene you know you're in for a slippery but solid ride. The aged patriarch lies on his deathbed, surrounded by his family. As he receives last rites, the camera cuts to another part of the house, where the servants are having sex astride the old man's coffin. Nothing like a bit of the old Thanatos-Eros touch to keep the workers happy.

To eliminate any possible confusion, I'll mention that the plot outline as listed on the IMDb page is incorrect: this is not about an archeology student, and there is no medallion. There is a witch, however, casting spells with the aid of potions. Here's where the trick of the film's title comes in: the witch, Ingrid, casts a spell over a young man, who becomes possessed by Ingrid's evil will, and thereby, her tool of revenge.

This film has everything the fan of Eurotrash looks for: abundant nudity and sexual situations, hallucinatory sequences accompanied by bad early 70's rock music, nonsensical supernatural storyline, tasty splash of blood & gore, moodily lit baroque settings, with the whole gorgeous package punctuated by a distinct odor of perversity. The actors & actresses are good-looking, with ultra-groovy mod wardrobe, and hooker-heavy make-up on the women. Annamaria Tornello alone is adorned with sufficient eye makeup to cover the eyelids of every actress in Italy in 1973. Acting is capable all around. We are in exceptionally good hands with director Angelo Pannacciò, whose entire career was an impressive edifice of horror, filth & exploitation. Journeyman film composer Daniele Patucchi contributes a simple yet effective harpsichord based score. Cinematographers Maurizio Centini and Girolamo La Rosa both made Eurosleaze their exclusive focus, and handle their task with stylish expertise. In all, a satisfying viewing experience for lovers of trash, Italian style! Recommended.

37 out of 39 found this helpful. Was this review helpful? Sign in to vote.
Permalink

Punishment Park (1971)

10/10

another chillingly accurate depiction of days of future present from Watkins

22 November 2004

You can't watch a film like Peter Watkins' "Privilege," a story of the exploitation of a pop music performer by big business, the state, and even organized religion, without thinking of creatively degenerate commodities like Michael Jackson or Britney Spears, who hawk corporate giants like Pepsi or some other poison for money. Or any number of entertainers, in music or movies, who become tools of political parties or commercial religious interests like Scientology and Kabbalah. A film like Privilege must have seemed almost like science fiction when released in 1967, so fantastic was its premise. Today we tend to take celebrity endorsements for granted, giving little thought to its more alarming implications. Watkins' vision has not only become reality, we tacitly accept this reality as "normal."

Now consider Punishment Park. As Privilege challenges the viewer to examine what is being sold to us, and why, Punishment Park demands that we reckon with what is being taken from us, and why.

Heaven help America, and for that matter the world, if contemporary politicians get their hands on this film. It is already so close to reality, that in viewing it recently, I experienced a genuine, nauseating feeling of anxiety.

Watkins again skillfully employs a documentary-style narrative. Whereas in Privilege some rough edges to this technique were apparent, in Punishment Park it has been honed to sharp, seamless perfection. The sense of realism is enhanced by disarmingly unpretentious, economical, believable portrayals by the entire cast. This is the kind of acting Hollywood has completely turned its back on, to its detriment, in favor of cosmetically perfect image projections. The cast has first-rate material to work with in Watkins' screenplay.

Many cinematic visionaries have tried to shake the viewer out of their complacent, false sense of security. No one has ever achieved this result with such stark and chilling accuracy as Peter Watkins does here.

"What seems quite clear now, is that instead of trying to bring the estranged and excluded Americans, such as these people, back into the national community, the Administration has chosen to accept and exploit the present division within the country, and to side with what it considers is the majority. Instead of the politics of reconciliation, it has chosen the politics of polarization."

To paraphrase one of the characters, we don't have to call them pigs because they know what they are. Better than we do.

49 out of 62 found this helpful. Was this review helpful? Sign in to vote.
Permalink

Charles Manson Superstar (1989 Video)

10/10

uneven, peppered with irrelevancies, but worthwhile

9 October 2004

There are many films explicitly about Manson, and even more loosely inspired by him and the deeds attributed to him & 'The Family.' Most of them are worthless except as pure exploitation. This is the only one that provides more than a snippet of actual interview footage with the man himself. It is primarily for this reason that I strongly recommend it. If you have any curiosity, or interest in Manson, whether you despise or admire this legendary American outlaw, you'll want to see "Charles Manson, Superstar" to augment your perception of him. Be advised that the makers of this film are evidently Neo-Nazis, and their biased approach is about as subtle as a brick dropping on your head. Even if Manson was/is a Nazi, I think such indulgences as the interview with James Mason, American Neo-Nazi, detract from rather than add to the film. On the plus side, George Stimson was a consultant on this film, and he was a confidante to CM, and onetime webmaster of the "official" Manson website.

Of all the films about Manson, this one, however amateurish, patronizing and biased, is the most legitimate, if only in the sense that it allows Charles Manson to speak for himself.

Other films of note on the subject are "Manson" [1972] and "The Helter Skelter Murders" aka "The Other Side Of Madness" [1970].

24 out of 30 found this helpful. Was this review helpful? Sign in to vote.
Permalink

The Brides Wore Blood (1972)

6/10

mildly interesting modern vampire/occult tale

3 June 2004

Maybe it's just that I watched this film right after my first dumbstruck viewing of Andy Milligan's "Bloodthirsty Butchers." I guess it can only be up from there huh? As a fan of the entire spectrum of horror cinema, I quite enjoyed this dated no-budget obscurity from Florida. It operates on 2 levels: as unabashedly cheesy bad cinema, and as unassuming little rough diamond.

Things I sincerely liked about this film include the general storyline, which blends a family curse with vampirism and ritual magic. The sets and cinematography were OK. The Delorca family house is a typical cozy Gothic mansion, with a gargoyle around every corner, and a Temple dedicated to the Black Arts in the basement. The acting, save for the blatantly bad performance of Bob Letizia as Perro, a Torgo-like troglodyte complete with silly walk, was acceptable and even unusually restrained for this level of cinema.

Things I enjoyed for their abominable badness: the wardrobe, hair and make-up. The female lead is a frosted confection of frosted bleached hair, frosted blue eyeshadow and frosted pink lipstick. We can only hope that look never comes back into style, ACK! Wait, if you think she looks bad, check out the vampire makeup. I thought at first that one of the vampires had a pair of toothpicks protruding from her lip, till I subsequently observed that they were in fact a pair of those cheap plastic kiddie vampire fangs you buy for a buck at the drugstore around Halloween. Laughably lame and unscary. The heroine's makeup was a lot more frightening than any of the vampires. Finally, to draw attention again to Bob Letizia's portrayal of the idiot servant Perro, he was so bad that he made the guy who played Torgo in "Manos, The Hands Of Fate" look like an accomplished thespian.

No name cast and a director with about 2 other happily unknown credits.

Rewarding if you're searching for offbeat, seldom viewed horror, and equally effective as an amusing excursion into the warped, fascinating world of archaic bad cinema.

9 out of 15 found this helpful. Was this review helpful? Sign in to vote.
Permalink

On the Trail of Ed Wood (1990 Video)

3/10

Ed deserves better

30 May 2004

I haven't had a chance to see some of the other biopics on Ed Wood, aside from the hilarious Tim Burton tribute to the man's mad greatness. Or should that be great madness? I can't say whether "On The Trail Of Ed Wood" is better or worse than the others, but I hope the others are better.

The entire thing was shot on a primitive home video camera. The camera work, editing, and sound are all bad. (Not in an entertaining way.) That said, if you are a serious Ed Wood fan, you may find this worthy of at least one viewing. It starts out on Ed's beloved streets of Hollywood, where the filmmakers accost passersby and ask them whether they have ever heard of Ed Wood. If they answer yes, they are asked to name their favorite Ed Wood film, and why. They ask everybody from a cop/security guard guy, to a longhaired metal head. Then we get down to the main content of the video: an extended visit in the home of Conrad Brooks, complete with guest appearance by his pussycat. The interviewer asks a number of fairly interesting questions. Brooks obviously enjoys sharing his memories of Ed, and his lingering fondness for the man and his achievements is evident throughout. The video ends on a somber note, as they visit the rundown apartment building that was Ed's final home. It's sad to see the grim, dilapidated surroundings in which Ed spent his final days, living in the most conspicuous penury. You can almost picture the angora sweaters getting dingy and tattered. It's a sobering reminder that Hollywood is rarely fair to those who give their lives to it.

Worth a look for Conrad Brooks' insights. What a DRAG, that the filmmakers put so little effort into making this look and sound more professional. If such slapdash amateurishness was their way of paying homage to Ed's own bad film-making, it should be noted that Ed always put his whole heart and soul into his work. He would never have allowed himself to go off half cocked like Copner and co. did here. He always did his best, as pathetic as that may have been, and that's why we love him. His enthusiasm for his work, and his very soul shine through the epic badness of his films, like a shaft of gold when all around is dark.

I notice the director (and off-camera interviewer) Michael Copner has various credits on other Ed Wood biopics, in which I sincerely hope he atones for his poor work here. Please tell me that this is the least of the Ed Wood tribute films.

8 out of 9 found this helpful. Was this review helpful? Sign in to vote.
Permalink

Sex Freedom in Germany (1970)

4/10

Hey, Babe, let's crash the German Sex Party! *spoilers*

29 May 2004

Warning: Spoilers

In my ceaseless quest for obscure cinematic oddities I stumbled onto this howlingly inept celluloid nutbar. I embarked on my viewing ODDyssey without the benefit of any prior info on the film. Naively, I'd hoped a film with the title Sex Freedom In Germany would include some discussion about the ground-breaking sex theories of German-born researcher Wilhelm Reich. Whoops! This flick doesn't even mention the great W.R., his theories of sex economy and orgonomy. Not a word. Nary a breathy whisper. Guess I'm forced to content myself with "Viva Little Man" or Dusan Makaveyev's masterpiece "WR: Mysteries Of The Organism" if I want to hear about Reich.

This movie is utter TRASH and that's its primary virtue. As trash, it totally rocks. As a freakshow, it has its moments. I've seen several Sex Report type flicks, and this is the best of its kind. HOWEVER...

Physically, film has aged very badly, obviously shot on the cheapest stock available. The color is washed out and faded. Plus this distinctly German flick was apparently dubbed into English in Liverpool. You'll shriek with hilarity and disbelief when the filmmakers interview a chubby-cheeked, greasy haired German lad, introduced to viewers as a male prostitute, who then proceeds to chatter about his exploits in not just a Scouse (Liverpudlian) accent, but in the Scouse slang of the Dingle. (Liverpool 8, always be great!) The camera-work is laughable as is the editing.

So much for the technical aspects. Now more on content. Spoilers galore.

The following must be emphasized so please take special note. IF you want to see a film that shows a so-called artist put on a public performance of an anti-Christian piece that climaxes in the graphic inept butchery of a live pig, and its blood and guts being spilled onto the supine naked bodies of young women, then rejoice because you have finally found the film of your dreams. If you do NOT wish to subject yourself to such inhumane obscenities, then either don't watch this film at all, or get up and head to the kitchen to fix yourself a healthy vegan snack the minute you hear people starting to sing "O Tannenbaum" and don't come back for about 5 minutes. Leave it to the Germans to show us a living being senselessly slaughtered in the name of entertainment, in a sex film no less. PETA, hunt down the makers of this film, and that butcher who dares call himself an artist! He's probably living in hiding in Argentina or something. Otto Muhl admits to being crazy, but I wouldn't let him off so lightly.

What other erotic delights do the Germans have for us? (Insert knowing wink and nudge, nudge, say no more, here.) How about the sex commune that looks like the Manson Family, with their stoned, noisy, messy, bestial orgies? Or the performance artists who play their eccentric, discordant brand of music wearing only badly applied body paint? They seem like nice people. Let's meet the leader of the German Sex Party! Look! It's Anton LaVey in a very bad wig, accompanied by his adorable secretary. A dark-haired beauty who is nude save for about ten pounds of makeup and some super-camp panties. Look at her, and laugh as she cynically rolls her eyes at her boss while he drones on about his position as leader of the German Sex Party. This riveting interview left me wondering, what is the official salute of the German Sex Party, anyway?

We also get to see a couple of young guys living out their dream as pornographers in Berlin. They invite acquaintances over, give them LSD and other drugs, then persuade them to perform pornographic improvisations for their cameras. Sound like fun? In your DREAMS! Remember, we are in Germany and it's 1970! Can they possibly make sex any LESS joyful, exciting and erotic?

This is as good a moment as any to mention the overweight stripper whose gimmick is auto-flagellation.

An apparent continuity device is offered by the touching saga of a young couple. He, a handsome young cardboard cutout type, and she - well, I thought she was strung out on heroin at first to be honest, but perhaps she was only posing and showing off her 'Master Race White' bleached blond hair. Because later we see her running around and playing in the streets with her boyfriend, as they pose as shining examples of healthy, carefree, happy German youth. Isn't it touching and tender? Doesn't a tear come to your eye as you watch them frolic like innocent children in the snow? Isn't it cute when she ducks behind a potted plant and her boyfriend plays the "Where did my girlfriend go?" game with her? Poignancy, romance, young love. The youth of Germany are the future. The weird yet pretentious future. (We are showroom dummies...)

There's more! How about a defrocked priest, forced to resign his post after being caught in a hotel room with a boy? His mission in life now consists of hanging around where the rough trade do their hustling (mostly in train stations), picking them up, bringing them back to his place, picking their brains, then telling them how disgusting HE thinks THEY are, by way of rehabilitation!

Have some earplugs handy to spare yourself the aural ordeal of the soundtrack by "progressive" rock band Apocalypse.

In conclusion: a minor entry in the mondo genre. There are moments you'll laugh out loud: indeed, this film does deliver more belly-laughs than the average contemporary Hollywood comedy. That admitted, as an artist and an animal lover I was more offended by the footage of the pig slaughtered in the name of "art" than anything else. On the grounds of the senseless bloodletting, I can't recommend this film as entertainment.

6 out of 6 found this helpful. Was this review helpful? Sign in to vote.
Permalink

Malabimba (1979)

5/10

Puts the TRASH in Eurotrash like no other flick I've ever seen! *small spoilers*

26 January 2004

Warning: Spoilers

I knew nothing about Malabimba before viewing it, other than that it was directed by the same man who brought us the fine zombie flick, Burial Ground. What can I say? WHOOPS! Here I thought I was gonna view an innocent little gore/splatter flick and what do I get? Well, since I was viewing the complete version, uncut (i.e., like the men in this film), I found instead of a family-friendly horror movie, I had been duped into watching a very lame European porn flick. I wasn't so sure that dame who played Nais wasn't actually Jerry Hall slumming for a few extra lira. What would Mick have said? Tsk, tsk! (It's actually Patrizia Webley, who made a number of trashy flicks, 'Salon Kitty' and 'Queen Of Sex' being 2 of her better ones.) Not too shabby in the mammary department at any rate - and the gal *does* know how to strike a pose in lingerie. Essentially, this is a pornified variation on The Exorcist, which would've bored me beyond belief were it not for the lesbian nunsploitation elements. I've seen both better Exorcist ripoffs (try 'Exorcism' by the always delightfully kinky Jesus Franco) and better nunsploitation (try 'Flavia The Heretic' by Gianfranco Mingozzi). This film apparently did nothing for the career of the main character, played by Katell Laennec, as she seems to have no film credits besides this one. Too bad - just watch the excruciatingly slow way she teasingly takes down her little white panties in the scene where she seduces her uncle Adolfo (not her grandfather, as incorrectly noted in some other reviews). Hey, if that ain't talent, what is? I understand there is a censored version sans the hardcore scenes - does that mean there's a version where Bimba doesn't have sex with a teddy bear then stab him to death? Does this girl have no MERCY? Malicious little whore, indeed! Teddy bear lovers, UNITE and stand up against this abominable filth! If you enjoy really vanilla hardcore sex scenes, or scenes of young ladies masturbating with stuffed animal toys, you may appreciate the uncut version of Malabimba more than I did. I found it to be more porn than horror and dull unimaginative porn at that, for the most part. Left me frustrated and longing for some blood and bone-chilling terror - to say nothing of more bizarre sex scenes. Definitely EURO and most definitely TRASH!

9 out of 15 found this helpful. Was this review helpful? Sign in to vote.
Permalink

The Private Life of a Cat (1946)

10/10

Whimsical, gentle masterpiece

18 January 2004

A male cat courts a female cat and they raise a family together. We see the kittens being born and nurtured by mother, while an interested and proud dad lends his support. Beautifully photographed and executed. With subtitles, no dialog, and a refreshing absence of human beings onscreen. Very touchingly realized by Alexander Hammid, whose collaborations with Maya Deren I had prior acquaintance with, and also highly recommend.

Amply demonstrates beyond any shadow of a doubt that animals are more authentic and interesting onscreen than people. I recall W.C Fields' comment to the effect that you should never try to act with children or animals because they will invariably upstage you. You don't have to be a fervent cat lover to find yourself utterly charmed and captivated by this sweet and simple gem of a short film.

For those regular readers of my reviews who have come to expect at least one asinine and/or tacky comment in all my reviews, I won't disappoint. I think kitty porn is outrageous and as upright citizens we must put a stop to this sort of thing immediately! Luckily, there's no kitty porn in this gentle film, just a simple, poignant love story. A film with universal appeal, like a lovely piece of music. Seek it out, and enjoy.

20 out of 23 found this helpful. Was this review helpful? Sign in to vote.
Permalink

Bloody Pit of Horror (1965)

10/10

Mickey Hargitay's Shining, or should I say, well-oiled Moment

13 January 2004

I can't recommend this piece of 1960's Italian Eurotrash highly enough! Mickey Hargitay has never been better than he is here, as the reclusive actor gone mad and possessed by the evil spirit of the Crimson Executioner. So, what's a guy to do, but oil his bare chest, don bright red tights (it looks like he has an armadillo down his trousers, no wonder all the girls are so scared of him!), a big shiny gold pendant, a black Zorro-type eye mask and a cute little red hood. Then he proceeds to sadistically torture and kill a group of young fashion models who have the misfortune of accepting his hospitality.

The torture chamber is vast, stylishly equipped, and just the sort of thing you wish you had down in your own basement. The gore is laughably lame and fake, but it's the sheer leering lasciviousness of this film that makes it such a turn-on. FX? Forget about that, and forget about plot too: this film's fuel is good IL' testosterone. That's why it doesn't have to make sense.

Mickey easily upstages all the other actors, chewing up the scenery with a conviction that's almost a bit spooky. But mostly his grandiose performance will evoke howls of laughter. His character is possibly the most verbose serial killer/psycho in film history. He gets to deliver some truly choice bits of camp dialog that will have you rolling on the floor laughing your ass off. If I had been one of his victims in the bloody pit of horror, I would've screamed "Will you PLEASE just SHUT UP about your perfect body and KILL ME, already?!!"

Deservedly considered a camp classic by straights and gays alike.

Hargitay made one other worthwhile foray into the Eurotrash genre, called "The Reincarnation of Isabel." Together these films would make an absolutely fabulous double bill. Both these flicks are real crowd pleasers and are sure to make your video party unforgettable. If you require a third Hargitay feast, add "Delirium" to see Mickey's foray into the giallo genre.

The opening credits inform us "Based on the writings of the Marquis de Sade." Very loosely.

I urge you to run right out and obtain your own copy of this masterpiece, to shamelessly wallow in over and over again.

35 out of 49 found this helpful. Was this review helpful? Sign in to vote.
Permalink

The Killer Nun (1979)

6/10

Killer Nun Ain't Much Fun *warning: some minor spoilers*

27 December 2003

Warning: Spoilers

From Ken Russell's 'The Devils' to Jesus Franco's 'Love Letters Of A Portuguese Nun,' from Sergio Grieco's 'Sinful Nuns Of St. Valentine' to Gianfranco Mingozzi's classic 'Flavia The Heretic' and everything in between, I am a self-confessed nunsploitation freak. I wanted to embrace Killer Nun uncritically. I also like to check out any film featuring Joe Dallesandro, who is always interesting. Except, maybe, in this movie. But it would be unfair to ask Joe to save a failure like Killer Nun. The basic problem with this movie is the misleading title. With a title like Killer Nun, you are compelled to either deliver the goods, or condemned to disillusioning your audience. As a viewer, I haven't felt so disillusioned since I saw 'Blow Up' and not a single cast member exploded. I actually fell asleep the first time I tried to watch this film, right after Anita Ekberg stomped on the old lady's dentures. I did not pass out from tiredness but from the surprise agony of boredom this film inflicted upon my vulnerable brain. I trustingly placed my fragile psyche in the hands of cruel and insensitive filmmakers who betrayed me! By the time I fell asleep on the initial viewing attempt, I had long wearied of chanting "Kill, Nun, Kill!" every time a nun appeared on screen. Maybe if the film had been marketed under the title "Horny Junkie Nun" or "Nun With Occasional Psychotic Episodes" I wouldn't have felt so ripped off.

The second time I settled down to inflict Killer Nun upon myself I was prepared. I sat through it with steely determination, thankful for my preternaturally high pain threshold.

There's some soft sex and nudity, but only one scene between Sister Gertrude (Ekberg) and her younger lesbian nun lover contains any hint of eroticism or interest. Sister Gertrude humiliates her submissive girlfriend, Sister Mathilde (Paola Morra, an Italian Playboy Playmate who also had a small role in the nunsploitation flick 'Sex Life In A Convent'). Ekberg forces her to dress in silk stockings to satisfy her admitted fetish, and demands that she repeat the words, "I am the worst kind of prostitute!" Unfortunately this is a case of too little too late. This scene could have been deliciously lascivious... another opportunity to deliver the prurient goods utterly wasted.

The same can be said of the gore. Yeah, people die in this movie but the first outright killing occurs nearly halfway through the film. The gore, such as it is, is almost entirely implied, and will only irritate fans of graphic violence FX. Another killing carries genuine potential for thrills and terror, as the victim is sadistically tortured with pins. Somehow the filmmakers actually succeed in making scenes like this boring. Doesn't cut it with a film called Killer Nun, babe.

As for the other half of the reason I was looking forward with some pleasurable anticipation to watching this movie. Joe Dallesandro. His role is negligible. Aside from a lame soft sex scene with Morra, he's given nothing to do at all. Dallesandro is usually more than watchable in genre films. While he never gives a bad account of himself, in this instance his presence is wasted. A significant letdown for this fan.

I never imagined I would be disappointed in a nunsploitation entry. The biggest shock this film delivers is what a dud it turned out to be. I've had more laughs filming myself vomiting than I had watching this movie. If you want nunsploitation then consider Killer Nun as a last resort. Instead try one of the films mentioned in my opening remarks, or maybe you'd enjoy my personal favorite, Pedro Almodovar's 'Dark Habits.'

17 out of 20 found this helpful. Was this review helpful? Sign in to vote.
Permalink

Fireworks (1947)

10/10

Ineffable Anger

4 December 2003

A young man with a restless libido steps out of a fantasy world into real-life encounters that are both mercilessly brutal and profoundly liberating. Not for film school students to pick apart in class; they'll never understand it that way. This is a shudderingly intimate film that can only be grasped on an instinctual, visceral level. It is essential to be more than a mere voyeur, to empathize with the film's protagonist (a young Anger himself), and enter with him into his very personal homosexual twilight-world of fantasy. An unflinching and daringly honest examination of Anger's own take on the homoerotic myth associated with sailors, which is both surrealistic a la Luis Bunuel & Salvador Dali's Un Chien Andalou, and exquisitely ethereal, evoking one of Anger's early cinematic heroes, Jean Cocteau (compare this film to the far more subliminal Blood of a Poet for fascinating parallels). It also owes more than a passing nod in the direction of the great Jean Genet. YES it poetically glorifies homosexual violence; it does this in a way which is far less graphic than contemporary films, and if anyone is offended by this "violence" I might venture to suggest that their reaction has more to do with their discomfort with their own darker sexual fantasies, as this film has the power to touch, even open, this very private, very special place in the viewer's soul. It also surprises me, how frequently the humorous elements of the film seem to escape many reviewers.

As the film is now over 50 years old, it does help to recall its historical context: when it was made, almost all gays and lesbians led fiercely closeted lives, and cowered in terror of "entrapment" (a common device employed by police to bust human beings for the "crime" of same-sex acts). For such a film to explode out of this repressive social context makes it "fireworks" indeed! And it is easy to see why the intelligentsia of the day rightly wanted to lionize the young Anger for this astonishing manifesto that comprises his official cinematic debut. Apparently a powerful scene was later edited out, depicting Anger being humiliated by his tormentors on the floor of the urinal. I wish this scene was still intact; nonetheless, even as it stands, this is one of the most powerful, beautiful, knowing films ever made about fantasy, violence, and eroticism. Amazingly, virtually every film subsequently made by Anger sustains this unique power. Kenneth Anger is truly one of the greatest American artists and filmmakers. Sadly the public focus on his Hollywood Babylon books, his controversial beliefs and life have dwarfed appreciation of his monolithic power as a filmmaker. He has influenced scores of successors and it's time to give this great artist his due.

43 out of 46 found this helpful. Was this review helpful? Sign in to vote.
Permalink

The Heavenly Body (1944)

"I'm the happiest Capricorn in the world!"

30 November 2003

If you are at all familiar with astrology, you'll find the tongue-in-cheek astrological subplot very amusing. Essentially a straightforward romantic comedy of the era, with a wartime subplot in addition to the astrological one. Astronomer Powell, pre-occupied with recent developments in his work, doesn't devote sufficient time to his marriage, so wife Hedy seeks guidance from the neighborhood astrologer. Informed that she is about to meet a new love, she becomes infatuated with a handsome air raid warden, presuming him to be her foretold lover. Predictable hijinks ensue, with the predictable happy ending.

A comment on the role of the astrologer, portrayed by Fay Bainter. Her character is more a shrewd neighborhood gossip than a psychic, but appears to be a genuine believer in astrology as opposed to a calculating charlatan. Her character is presented as essentially a harmless eccentric. However, she is later revealed to be a rations hoarder (much frowned upon during WWII). Some PC Pagan/New Age persons may therefore be offended by the negative, 'discriminatory stereotype' depicted in the film. Others can look forward to some silly, harmless entertainment.

I recall this amiable hodge podge of a film with affection. The stars are charming and appealing. It also has considerable camp value. And yes, Hedy's ethereal gorgeousness is nothing short of stunning.

43 out of 48 found this helpful. Was this review helpful? Sign in to vote.
Permalink

Argoman the Fantastic Superman (1967)

10/10

Argoman, The Fantastic Superman...

13 November 2002

...was the title of the last print I saw. A classic in the 1960's European superhero/action genre. You'll swoon with B-flick extasy when Argoman confides to his manservant, Chandra, "Sometimes I'd prefer not to have my superpowers, if only to make my adventures a bit more difficult!" This is just one snippet of the dazzling dialogue from this masterpiece. His flair for Jetson-style interior decor makes his pad almost as cool as Diabolik's. He locks horns with supervillain Jenabel, "queen of the world," a hot redhead supermodel type babe with a fabulous Swinging 60's wardrobe and miles of eyeliner. All to one of those upbeat, cheerfully awful, strangely compelling European badmovie soundtracks. There are a couple of loosely related flicks, "Superargo vs. the Faceless Giants" and "Superargo vs. Diabolicus." It's the sort of stuff we lovers of cinematic trash thrive on. This is a film you will watch over and over again. Or maybe that's just me. Whoops.

16 out of 17 found this helpful. Was this review helpful? Sign in to vote.
Permalink

Jenabel_Regina_del_Mundo

Reviews

Tell Your Friends

Recently Viewed