Erotic Nights of the Living Dead

Boy, they sure don't make 'em like they used to.... In 1979 Italian exploitation extraordinaire Joe D'Amato made Porno Holocaust, boldly fusing hardcore porn and gory splatter together in one film. Box office gold seemed certain, but it was not to be - Porno Holocaust with its sucking, fucking and flesh eating zombies, proved a misfire. Undaunted, D'Amato took another shot at the formula in 1980 with Erotic Nights of the Living Dead (or Sexy Nights of the Living Dead, the title on the print used for Shriek Show's DVD) which pared down the sex of Porno Holocaust, and amped up the horror. Erotic Nights of the Living Dead's threadbare plot concerns a property developer (Manlio Certosino) meddling in the affairs of a seemingly deserted island which he intends to exploit for the Caribbean tourist trade. Despite the warnings from the island's two sole inhabitants, an old man and his beautiful bewitching grand daughter (Laura Gemser), and against the advice of the cautious skipper of his yacht (George Eastman) he continues with his plans unwittingly causing the dead buried in the island's graveyard to rise up and take revenge...

At two hours Erotic Nights is a bit of a slog, the hardcore stuff adds a lot of fat to the movie, but the film has a number of longeurs where the film grinds to a halt so D'Amato can spend someone else's money pointing his camera at pretty shots of the ocean. The sex while not as frequent as Porno Holocaust really has only one big hardcore sequence where Certosino beds two whores in his hotel room. The other sex scenes are not nearly as explicit - Laura Gemser (who never preformed hardcore sex on celluloid) has two soft love scenes in the film. Also, worth mentioning the rather astonishing sequence where George Eastman kicks back with a stripper who has an amazing technique for uncorking champagne bottles (and yes, you should rush out and buy the DVD for this scene alone). The zombie element in the film is strictly poverty row stuff - don't expect any of the moldering creations of Giannetto De Rossi that shuffled through Fulci's zombie epics, the living dead in D'Amato's film are as mangy as they get.

Despite the disastrous pacing and the low budget, Erotic Nights of the Living Dead somehow works. Whatever the shortcomings of D'Amato's cheap day-for-night photography, the film does have a strange dreamy atmosphere to it, and there's at least one extraordinary sequence, where Gemser and Eastman are frolicking in the surf as the zombies watch them from the shore. The presence of Laura Gemser in D’Amato’s films always lift them out of the mire, and she's especially gorgeous here; the director really caught her beauty at its most ethereal. George Eastman (who penned the screenplay) is good too, he has real presence in the movie, and like Gemser is one of Joe D'Amato's greatest assets (his appearance in the D'Amato's 1981 film Absurd turns a routine slasher film into a minor classic). Must mention also the brilliant electronic soundtrack, by the unlikely sounding Pluto Kennedy (or Marcello Giombini if you prefer) which to me sounds like a sickly and feverish Tangerine Dream.

Shriek Show's DVD is fine addition to their Euro-cult library and is a good presentation of D'Amato's film in all its cork popping uncut glory. Extras include about 27 minutes of alternate scenes, a photo gallery and the French opening credits as an Easter egg. Be warned though - Shriek Show has put out a softcore edition of the film also, so be sure to avoid that.

Lights! Camera! Kong!

Dino de Laurentis’ contemporary remake of Cooper and Schoedsack's iconic monster movie earned some considerable critical heat upon its release but for this viewer, it was my first cinematic encounter with King Kong and thanks to a healthy run of TV screenings throughout the 80’s the film would become a favourite of mine...

The story remains by and large the same as the original, with a few changes. Charles Grodin plays Fred S. Wilson, an oilman heading up an expedition to the mysterious fog enshrouded Skull Island. On board is paleontologist Jack Prescott (Jeff Bridges) and bubble-headed wannabe actress Dwan (Jessica Lange, and yeah its really spelled Dwan), picked up by the crew when her life raft was spotted adrift on the ocean. Once at Skull Island, its business as usual as Kong takes a shine to Dwan, and Wilson hatches a plan to sell Kong to the natives back in New York...

There’s a scene after the first encounter with Kong at the sacrificial altar, where Jeff Bridges says to an incredulous Charles Grodin, Who do you think did that, a guy in an ape suit? – this cheeky exchange sums up the breezy mood of Kong ’76. The pioneering stop motion effects that brought Kong to life in the 1933 film have been replaced here by Rick Baker’s apesuit. It’s a dicey prospect and admittedly some of the effects creak and groan like old floorboards, most of all in the final act where Kong scales the World Trade Center. Still, it’s a huge leap forward from Toho’s 1962 effort King Kong vs Godzilla, and while Peter Jackson’s 2005 film is Kong is the most magisterial, Baker’s face masks are wonderfully expressive – the look of melancholy on Kong’s face, held captive in the hull of the ship is heartbreaking. Carlo Rambaldi designed an animatronic Kong but it looks awful and thankfully is used fleetingly in the finished film.

Of the three leads, Jessica Lange, girlish, gorgeous and sexy in her first role looks every bit the movie star her character aspires to be in the film. The scene where Kong playfully removes her skimpy ceremonial costume is genuinely erotic stuff. Jeff Bridges, bearded and beatific is strong as the hero and Charles Grodin playing the oilman-turned-PT Barnum is great, and throws out some of the film’s best lines (Take plenty of TNT when you go inland. Any sign of a monkey bigger than four feet send him bang-bang).

Director John Guillermin, having previously made The Towering Inferno does a fine job bringing Lorenzo Semple Jr's screenplay to the screen. The widescreen vistas of Skull Island (or Hawaii) look great and there are a number of excellent set pieces throughout the film – look out for the brilliant sequence where a fearsome Kong smashes his way through the island’s high wooden wall and is snared in the chloroform pit. Also worth mentioning is John Barry for his suitably epic score, and cameraman William Kline who’s shadowy lighting smooths over some of the shortcomings of Rick Baker’s ape suit.

Long available on Paramount DVD on both sides of the Atlantic, the best way to currently see King Kong ’76 is the region-free French Blu-Ray which towers above its DVD companions. Included on the Blu is a short making of, and some deleted scenes. Well worth seeking out.

The Naples Connection

Lucio Fulci’s one and only contribution to the Italian Crime genre, Contraband made in 1979 follows Luca (played by the always great Fabio Testi), a big time cigarette smuggler working out of Naples. When a routine drop off goes sour, Luca learns that a sadistic drug dealer (Giorgio Mariuzzo of French Connection fame) is cutting in on his territory and wiping out the local bosses. After his brother has been viciously gunned down, and his wife kidnapped Luca becomes hell bent on revenge…

While Contraband is certainly not a high point of Italian Crime cinema, it remains a minor classic of the genre enjoying something of an infamous reputation for its sheer violence. Bodies are riddled red from bullet hits, heads torn asunder from machine gun fire and in one of Fulci’s most notorious death scenes; a woman’s face is scorched with a Bunsen burner. But aside from the violence, Fulci seems very much disconnected from the film, and his usual stylish direction is notably absent here. Even the look of the film is jarring in comparison with the incredible widescreen vistas of the director’s previous film Zombie Flesh Eaters. Other than an eerie sequence early on in the film in a smoky sulfur mine, Contraband may well be cameraman’s Sergio Salvati’s most unremarkable film, shot in that soft, gauzy style that might have lend itself to the fantasy world of Fulci’s 1983 film, Conquest, but here it is something of a miscalculation. Its possible Fulci was already looking ahead to the feverish visions of City of the Living Dead made the following year and Contraband, with its speedboats and double-crossings was a stop gap until then.

Still if its thrills and spills you want, there’s plenty of it here, and Contraband is a fine muscular action film. Incidentally look out for Fulci’s Hitchcockian cameo in the film’s blazing climax, as he dishes out some machine gun etiquette to the rival gang. Blue Underground’s edition of Contraband remains the best presentation of the film, following on from an inferior (and cut) Dutch DVD, known under one if its alternative titles The Smuggler. For Fulci fans and Italian Crime fans it is, despite its shortcomings, required viewing.

The Navigator: A Medieval Odyssey

Vincent Ward’s excellent if not entirely successful medieval adventure story is set in Scottish village in the 14 century as the Black Death is ravaging its way across Europe. A teenage boy experiences a prophetic dream vision of deliverance from the plague – a brave band of explorers must journey to a distant land and mount a spire on top of a church, and with this offering to God, sparing the village from certain doom. Their quest involves tunneling deep into the earth where they rather ingeniously emerge out into modern day New Zealand.

The idea of characters displaced in time is hardly new - Les Visiteurs had Jean Reno play a 12th century knight lost in 20th century France, while Time After Time flung HG Wells and Jack the Ripper into modern day San Francisco – but The Navigator uses this premise with intelligence and restraint. There’s not much in the way of knockabout comedy (like the crew of the Enterprise in Star Trek IV, arriving in 20th century California to be confronted by a punk and a beat box) and most of the action set in New Zealand takes place at night. One sequence has the strangers in a strange land negotiate a busy highway, but it’s a poignant rather than comic scene as one their men is left behind, too afraid to make the crossing.

Occasionally Ward’s ambitious vision runs ahead of the film – a boat journey across a harbor, encountering a surfacing submarine (which the hapless explorers attack with their spears and rocks), doesn’t quite come off, but still it’s a minor complaint in an otherwise wonderful heartfelt adventure story. Fans of Bergman and Tarkovsky should seek this one out as The Seventh Seal and Andrei Rublev were no doubt a visual influence on Ward who shot the sequences in the snowy Scottish village in luminous black and white. Ward’s direction is stylish and compliments nicely the mystical mood of the film. One wonders what Ward could have done with Alien³ which he was attached to briefly before David Fincher came on board.

If you can still find it, the best presentation of The Navigator on DVD remains Australia’s Madman edition which sports a very fine transfer of the film, if not a whole lot of extras. Also available from Madman is Ward’s 1984 film Vigil which is a fine companion piece to The Navigator.

Lucio Fulci's Four of the Apocalypse

Four of the Apocalypse made in 1975 was to be the second western Lucio Fulci would direct, appearing between Massacre Time (1966) and Silver Saddle (1978). In comparison with the director's other westerns Apocalypse is far less conventional and easily the best of the three. The story begins in the town of Salt Flat, where the Sheriff (a nice little cameo by Donald O'Brien) decides to clean house of the town's misfits and undesirables. Four strangers are exiled from the town to wander the wilderness in search of a new home. They are Stubby, a card-shark conman, Bunny a pregnant hooker, Clem, a washed-up drunk and Sam, an eccentric African slave. Along the way they meet Chaco a seemingly friendly gunslinger, who provides them with food courtesy of his sharp shooting. But soon things take a darker twist as the gunslinger turns out to be anything but benevolent...

Four of the Apocalypse has long been considered something of a bloodthirsty, savage western with scenes of torture and rape. Even Fulci manages to factor in some cannibalism at one point. But surprisingly Apocalypse turns out to the one of Fulci's most optimistic films, at least in the final bitter sweet act of the film where the birth of a baby brings new hope to a town on the edge of oblivion. Its one of Fulci's most leftfield plot turns considering he rarely allows his characters to get away unscathed before the credits of his films roll. Despite the obvious western genre iconography, Fulci's film could easily be refitted as a post apocalyptic sci-fi drama, with the characters lost in a harsh unforgiving landscape stalked by a sinister scavenger of the wastelands, and carrying with them the promise of a new beginning for a doomed civilization.

Four of the Apocalypse is one of Fulci's most enjoyable films of the 70's. Of the eclectic cast two of the more interesting faces include Lynne Frederick who plays the long suffering Bunny - even through the canned dub she turns in a good, gutsy performance, and Michael J. Pollard playing the bumptious alcoholic Clem is, well Michael J. Pollard. Its the two leads that really deliver here - Fabio Testi playing Stubby with depth and sensitivity, and Tomas Milian playing the sinister gunslinger, his role pitched somewhere between Rasputin and Charles Manson. It’s a leisurely paced film, and Sergio Salvati’s soft focus cinematography further adds to the strange ethereal nature of the film. Worth mentioning also, the soundtrack with its soft pastoral folky rock. Its been known to grate the nerves of some viewers but it’s not nearly as brazen as the music of Keoma or Mannaja.

Anchor Bay's edition of Four of the Apocalypse (later appropriated by Blue Underground) sports a fine presentation of the film, framed around 1.85 and featuring an English audio track which switches to Italian (with English subs) for portions of the film that were not originally dubbed into English. Extras include interviews with Fabio Testi and Tomas Milian. For Fulci fans, the film remains required viewing and for the more adventurous western fan, the film certainly deserves a look.

Plutonium Shores Mix Tape Vol. 1 - Horror Soundtracks

This compilation I put together last year is mostly well known classics and one or two personal favourites that I snuck on (like Manhunter and two selections from The Burning), plus a snippet of dialogue from Halloween. I hope everyone downloads a copy and has a listen...I specifically made it CD lenght so it can be copies onto a CD-R, so a lot of good stuff didn't make the final cut, so a second volume is promised....

The album is in a zip file, and uploaded to Mediafire... Anyone unfamiliar with Mediafire, simply follow the link below and enter the captcha if prompted. Zip is about 88M, and is tagged and numbered for mp3 players....

Whispers In The Dark - A Plutonium Shores Compilation

The blood on the tracks...

01 The Burning - Campfire Story - Composed by Rick Wakeman
02 Deep Red - Main Titles - Composed By Goblin
03 Phantasm - Main Titles - Composed By Fred Myrow and Malcom Seagrave
04 Manhunter - Coelocanth - Composed by Coelocanth
05 Nosferatu - On the Way - Composed by Popol Vuh
06 Halloween - Dialogue by Donald Pleasance
07 A Nightmare on Elm Street - Main Titles - Composed by Charles Bernstein
08 Hellraiser - Resurrection - Composed by Christopher Young
09 The Beyond - Main Titles - Composed by Fabio Frizzi
10 The Shining - Main Titles - Composed by Wendy Carlos
11 Cannibal Holocaust - Main Titles - Riz Ortolani
12 The Burning - End Titles - Composed by Rick Wakeman
13 Suspiria - Main Titles - Composed by Goblin
14 The Thing - Humanity Part 1 - Composed by Ennio Morricone
15 Night of the Living Dead - End Titles - library music
16 Theme from 2000 Maniacs - Composed by HG Lewis
17 Videodrome - 801 A/B - Composed by Howard Shore
18 The Texas Chainsaw Massacre - End Titles - Composed by Tobe Hooper and Wayne Bell

Boxcar Bertha

Boxcar Bertha is something of a lost Martin Scorsese film these days, its certainly the least celebrated film of his dazzling run of pictures from the 70’s even more so than the underrated New York New York. Until I got hold of the MGM DVD the film had eluded me for years – it rarely turned up on network TV, and in my years of collecting VHS I never managed to unearth a copy. The film made in 1972, and set in rural America during the Depression was another Roger Corman cash-in on the success of Bonnie & Clyde (1967, and followed Corman’s own Depression era exploitation film Bloody Mama, 1970), and stars a fresh faced Barbara Hershey and David Carradine as the outlaw lovers holding up the railroad company and giving the loot over to the railroad union.

For a Scorsese film of this vintage, Boxcar Bertha is remarkably restrained – it has neither the wild experimental style of Scorsese’s 1967 debut feature Who’s That Knocking At My Door, or the stylistic brilliance of Mean Streets, but is simply a competent exploitation film, complete with violence, sex, and the standard car chases (which Corman insisted upon). Scorsese interjects the film with some style here and there but overall it has a journeyman quality to it. Its possibly down to Corman’s ruthless shooting schedule – a frugal 24-days, but perhaps Scorsese was putting his head down after his sacking from The Honeymoon Killers production in 1968 for making an art film out of something considerably more down and dirty. Still, it’s a well shot film and the performances are great – especially Barbara Hershey. Hershey and Carradine were a couple at the time and the loves scenes have a real warmth. Also among the cast is the great John Carradine as the railroad boss.

Boxcar Bertha may suffer from a sense of anonymity, but Scorsese fans will surely enjoy one of the climatic scenes where a character is crucified against a railroad car – the reverse angle shot of the nails splitting the wood looks forward to an almost identical shot in The Last Temptation of Christ some 16 years later, which of course included Barbara Hershey who played Mary Magdalene. Furthermore, it was Barbara Hershey who, during the course of shooting Boxcar Bertha, introduced Scorsese to Nikos Kazantzakis' great novel.

Postscript: In between writing this review and posting it here, I found out that David Carradine has passed away. I kept the review as it was, I didn’t want to rethink the film in the shadow of Carradine’s death. Carradine, while never an actor I truly loved left behind an eclectic and interesting body of work, appearing in among others Mean Streets (1973), Death Race 2000 (1975), Ingmar Bergman’s The Serpent’s Egg (1977), Larry Cohen’s Q The Winged Serpent (1982) and of course the eponymous character from Tarantino’s Kill Bill (2003/4)

Fires On The Plain

Kon Ichikawa's anti-war masterpiece Fires On The Plain is set during the final devastating days of the Imperial Japanese Army's campaign in the Philippines and follows Private Tamura, exiled from his unit (for having TB) and left to wander through a bleak and dangerous landscape. Along the way he encounters peril from American forces and more deadly still, his own comrades who due to starvation and desperation have resorted to murder and cannibalism. All the while throughout his journey he passes the mysterious fires on the plain, which may be a sign of benevolent farmers or death-traps set by guerillas...

50 years after it was made Fires on the Plain remains a powerful experience. With a searing honesty it begs the question of how it was received by Japanese audiences in 1959, with its depiction of soldiers murdering their comrades to feast on their flesh. Certainly the scenes where the wasting Japanese soldiers debate surrendering to the Americans in the hope of being fed is a departure from other contemporary war films like Toho's 1960 epic Storm Over the Pacific (aka I Bombed Pearl Harbor), which portrayed the Japanese as men of great courage and sacrifice. However Kon Ichikawa who saw first hand the destruction of Hiroshima in 1945 has no time for ideology - his message is clear: war is a sheer hellish miasma. War debases all men, on all sides.

Before production began on Fires on the Plain, Daiei the studio financing the picture wanted Kon Ichikawa to shoot the film in color as was standard of Daiei films of that era. Kon Ichikawa insisted he make the film in black and white and won. His decision was correct - Fires on the Plain looks extraordinary. The black and white cinematography by Setsuo Kobayashi (who also lensed Kon Ichikawa's brilliant color film An Actor's Revenge in 1962) lend the film an incredible documentary like texture. It's a visually arresting film too - one scene has Tamura wander through a field of fallen soldiers, while in an early part of the film Tamura stumbles upon crows feasting on a mound of dead soldiers. Needless to say its an infernal vision, but its not without its moments of humor - look out for a scene where a soldier casts off his broken booths only to be picked up by another soldier to replace his own. Sterling performances too from the cast - the film is unusually underplayed for a Japanese film of the period, and adds much weight to the grim story.

Criterion's DVD of Fires on the Plain is addition to their line of classic Japanese Cinema. The complex visual scene (all dense jungle and rain) is transferred faithfully to DVD and overall the 2:35 transfer is mostly excellent. Supplements include an introduction by Japanese Film scholar Donald Richie and an excellent 20min interview with Kon Ichikawa and actor Mickey Curtis.

Shock Waves

Shock Waves, Ken Wiederhorn's debut film from 1977 is a fast paced energetic zombie film about a group of tourists who find themselves marooned on an island and stalked by living dead Nazi soldiers. While the post-Night of the Living Dead set-up of a group of characters stuck in a isolated place sounds familiar, Shock Waves comes as something of a surprise, swapping the flesh-eating carnage of Romero's iconic film for a more old-fashioned, moody vibe closer to say Hammer's Plague of the Zombies.

If the opening act seems eerie - with scenes of the cruise boat sailing through a weird atmospheric disturbance, and colliding with a dilapidated shipwreck, the second half of the film when the action moves to the island is positively scary. That the film manages to sustain its tone in the second half is something of an achievement for director Wiederhorn, who shot all the scenes in stark daylight, and never resorts to cheap gags. Look out too for some very expressive underwater photography as the camera drifts through the remains of the shipwrecked SS boat. Of course the star of the show here are the zombie shock troops, with their white waterlogged flesh and black goggles (to keep out the destructive glare of day it seems). The scenes where they rise from the watery depths are some of the best of their kind in zombie Cinema. The zombies themselves were designed by Alan Ormsby, of Children Shouldn't Play With Dead Things and Deranged fame). The film is strengthened also by a fine cast headed by the always great Brooke Adams, and two short but memorable cameos by John Carradine as the salty captain of the cruise boat, and Peter Cushing who explains the back-story behind the SS and how they met their end at the bottom of the ocean. Finally, not to forget one of film's major assets - Richard Einhorn's brilliant creepy electronic score this adds considerable power to Shock Waves' visuals.

Interestingly, the living dead would occupy the bodies of SS for a few more cinematic outings - namely Jess Franco's Oasis of the Zombies, Jean Rollin's waterlogged Zombie Lake, and Bloodsucking Freaks director Joel M. Reed's unremarkable Night of the Zombies, all of which fall well short of the ingenuity of Shock Waves. The film would in fact make for a great late night double-bill with Death Ship, a 1980 chiller about a haunted Nazi ship...

Shock Waves has been around on DVD for quite awhile now. Its first incarnation was a dire VIPCO effort which was hardly a step up from VHS. Avoid. Thankfully Shock Waves would resurface as a Blue Underground disc and despite the film looking rather grainy (taken from the best surviving print), the film looks better than ever. The disc is rounded out with a lively entertaining commentary track by director Ken Wiederhorn, Make-Up Designer Alan Ormsby and schlock filmmaker Fred Olen Ray.

The Offence

One of Sidney Lumet's most overlooked films, The Offence, his 1972 film is an intense pyschological drama about a cop's brutal treatment of a man suspected of being a serial child rapist. The cop so convinced of the man's guilt carries out an illegal interrogation and ends up killing him.

The film, an adaptation of a stage play, This Story Of Yours is less concerned with the question of the whodunnit, but the dynamic between Sean Connory's cop and Ian Bannen's suspect (both extraordinary). Rather than extract a confession out of the suspect, the cop betrays his own inner demons to his prisoner - his petty jealousies, his frustrations over a stalled career and a loveless marriage, and most damaging, his inability to subdue the horrors he's witnessed throughout his career (a sexualized murder of a woman is briefly seen in recurring flashbacks). When the suspect makes the cop face his demons head on, the cop short circuits and beats him to death.

Director Sidney Lumet brilliantly loosens the drama from its stagey origins by investing the film with a subtle experimental edge. The narrative refuses to conform to a conventional structure - the interrogation itself is saved for the last act of the film, after the audience has discovered the cop has murdered the suspect; while visually, the film, which begins outdoors among residential areas, turns inward with the action becoming increasingly confined to offices and rooms. There’s a kind of intentional visual blandness at work here, with the modern soulless architecture of the outdoor locations and the seemingly half-finished decor of the police station. All this lends the film a powerful alienating effect. In addition to the two leads and Lumet, special mention also for Vivien Merchant as the cop's exhausted wife, and a cameo by Trevor Howard as an internal affairs investigator.

The Offence was made fast and cheap, and apparently funded by UA as part of a deal for Connory's return to play Bond in Diamonds Are Forever. The film was something of a reunion for Lumet and the two leads. All three had worked previously on The Hill in 1965, and for Connory, The Offence would be his third of five films with Lumet (they being The Hill, The Anderson Tapes (1971), The Offence, Murder on the Orient Express (1974) and Family Business (1989)

The Offence is available from Optimum (and an OOP MGM) as a bare bones R2 DVD, the image is nothing stunning but a serviceable enough 1:66 non-anamorphic transfer. (Note! the OOP MGM disc is anamorphic!). The sound quality is fine and makes for a good representation for Harrison Birtwistle and Peter Zinovieff's brilliant experimental score. Highly recommended.

Dodes'Ka-Den

Just finished watching the latest of Criterion's excellent run of Akira Kurosawa films. Dodes'Ka-Den, Kurosawa's 1970 comeback film after his humiliating sacking from Tora, Tora, Tora! remains one of my favourite Kurosawa films, and to replace my 10-year old taped-from-Channel 4 VHS copy is a joy. The film, set amongst a community living on the edge of a sprawling Tokyo rubbish dump is not exactly new - Kurosawa mined similar territory with The Lower Depths in 1957, but Dodes'Ka-Den has the significance of being Kurosawa's first colour film, and goes flat out with a dazzling and often surreal use of colour - think of a cross between Red Desert and Kwaidan. For newcomers to Kurosawa, Dodes'Ka-Den is hardly a good entry point to dive into his filmography - it's two & a half hours of heavy, heavy drama, but for fans of eclectic World Cinema, the film is highly recommended. The title of the film by the way is a literal spelling of the sound of a train in motion, which one of the characters mimics. A sort of Japanese version of clickity clack...

Criterion's disc is their usual top shelf production - the color scheme has been transferred to DVD with great care (with the colours neither faded or burning off the screen) and for extras we another segment of the long-running Akira Kurosawa series, It's Wonderful to Create, a 36min episode, focusing on Kurosawa's trials and tribulations in the 60's - the abandoned project Runaway Train (which was eventually directed by Andrei Konchalovsky in the 80's), his ill-fated involvement with Fox and Tora, Tora, Tora!, and the filming of Dodes'Ka-Den. That the film was a critical and commercial flop and Kurosawa attempted suicide in its wake goes unmentioned but its well documented in the Kurosawa biogs that are out there.

David Lynch's Industrial Symphony No. 1

It begins with a phone conversation - a guy breaks up with his girl (both played by Nicholas Cage and Laura Dern who were making Wild At Heart at the time), then we are transported to a space filled with various detritus, where a floating angel (Julee Cruise) sings a lament, and below her a girl, naked save for black panties writhes about on a wrecked car...

Eccentric even by Lynchian standards, Industrial Symphony No. 1, subtitled The Dream of the Broken Hearted is a 50 minute piece of experimental theatre featuring songs from Julee Cruise's first two albums and various soundscapes by long time Lynch collaborator Angelo Badalamenti. The action filmed on stage features plenty of familiar Lynch iconography - pipes, bits of discarded metal, sinister light bulbs, and as a nod to Blue Velvet and Twin Peaks, a log that is sawed by none other than Michael J. Anderson who played The Man from Another Place in Twin Peaks. The songs are mostly exquisite - with Cruise's ethereal vocals given a dark power by Badalamenti's subtle post-rockish guitar licks. The songs are separated by short interludes of dark ambient washes of sound, and the atonal noise of machine guns and wailing sirens.

Industrial Symphony No. 1 premiered at the Brooklyn Academy of Music as a part of the New Music America Festival on November 10th 1989. As a piece of performance art Industrial Symphony No. 1 would have been quite an experience to see - there are at least two startling scenes - a 12ft skinless deer appears onstage, and towards the conclusion of the piece, dozens of naked baby dolls are eerily lowered from the ceiling. As a piece of film, its less successful, with its minimal lighting (mostly lit by spotlights) the visuals are often obscure and difficult to make out. It’s probably best to see the film in a darkened room to savor the various color filters and strobe effects.

Industrial Symphony No. 1 briefly made an appearance on VHS and laserdisc in the early 90's, before going out of print. The film is now once again available as part of the mammoth 10-DVD David Lynch retrospective The Lime Green Set.

Wes Craven's Swamp Thing

Wes Craven has had more than his fair share of hits and misses over his long career as a director. As well as bona fida classics like Last House on the Left, The Hills Have Eyes and A Nightmare on Elm Street, there have been failures like Shocker and most notoriously The Hills Have Eyes sequel. Swamp Thing, from 1982 is neither a classic nor a failure, but part of a stratum of Craven films, that include Deadly Blessing, The Serpent & the Rainbow and The People Under the Stairs that are interesting enough to warrant a viewing or two.

Swamp Thing began life an unlikely comic superhero in the early 70's, a scientific fusion of plant and man, out to revenge the murder of his wife by arch nemesis Dr. Anton Arcane. After a series of dark, low-key independently produced exploitation films, Swamp Thing's transition from page to screen was to be Craven's big break out into mainstream fantasy cinema. For the film, the comic was condensed into some 90min, and sees the creation of Swamp Thing, a fledgling romance between Swamp Thing and a female scientist, and a showdown with Anton Arcane who in the film’s last act is himself turned into a monster. For all its weaknesses - and there are many, Swamp Thing is fast paced and hugely enjoyable fantasy romp. The Swamp Thing creature admittedly is a little phony (no Rick Baker wonders here, and the less said about Anton Arcane's warthog man-beast the better) but its hard not to get swept up in the excitement of Craven's direction, as Swamp Thing dispatches heavies and takes bullet hits with wild abandon. One scene has Swamp Thing lose one his arm by a machete chop only for it to later grow back with the help of a little photosynthesis. Craven also acknowledges his source material with some comic book style dissolves and wipes.

The film has a great cast - Ray Wise (famous for Leland Palmer in Twin Peaks), Nicholas Worth (of Don't Answer the Phone fame) and star of the show, the ever fantastic Adrienne Barbeau, who makes for a tough resourceful and sexy heroine. She also contributes a memorable topless bathing scene (but more about that in a minute). Craven is also reunited with Last House on the Left arch villain, David Hess. In fact, watching the film as part of Craven's body of work reveals some interesting parallels - the sequences in the wooded swamps of South Carolina recall Last House on the Left, and there's a spectacular stunt where someone is set alight - a similar scene would turn up in A Nightmare on Elm Street. That Craven took on a film shot around swampland is itself interesting. In 1980, Craven was set to direct a film called Marimba, a brutal action film set in the jungles of South America. The film never came to fruition but the script was reworked and eventually went before the cameras some years later under the title of Cut & Run, directed by Ruggero Deodata. Like Swamp Thing, Cut & Run features lots of scenes of actors jumping in and out of murky waters (mostly by Hills Have Eyes star and poster child Michael Berryman)

Swamp Thing is available as a barebones DVD courtesy of MGM. In the US the first pressing of the DVD was mistakenly given a PG rating, and was later pulled from distribution due to Adrienne Barbeau's aforementioned topless scene, and some nudity in a sequence where Anton Arcane's army of hired goons are entertained by some prostitutes. The presentation is fine, if a little soft but that was probably how the film was shot anyway. A sequel followed in 1989 and is best avoided...

The Gospel According to Pier Paolo Pasolini

Pasolini's The Gospel According to Matthew (1964), a film of the life of Christ remains one of the director's greatest works. That Pasolini actually made the film is remarkable - Pasolini himself was a gay Marxist, and prior to The Gospel According to Matthew he had caused a scandal with the short film La Ricotta, an irreverent look at the Passion, which almost landed him with a 4 month stretch in jail for blasphemy. However, a change of Popes at the Vatican had caused a shift towards a more liberal view, and after Pasolini submitted his shooting script was allowed to go ahead with his project.

The Gospel According to Matthew depicts most of the episodes from the life of Christ, but one can sense that Pasolini is more interested in Christ as an enraged social reformer rather that a deity. The film is closer to Pasolini's own film Accettone than The Greatest Story Ever Told. What is most extraordinary about the film is how it breaks with the traditional conventions of the Hollywood religious film. Pasolini uses Neo-Realist aesthetics, shooting in black & white with hand held cameras (by Pasolini’s regular cameraman Tonino Delli Colli who shot 12 of his films), tight, abrupt and sometimes patchwork editing, and a cast of non-professional actors - a mixture of people Pasolini found on location, and a number of writers and poets.

Intriguingly, Pasolini had considered Jack Kerouac for the role of Christ, but nixed the idea when he realised his image of Kerouac was based on a photograph 15 years out of date. One can almost sense the cinema veritae style of the film is informed by the rugged and ragged landscapes depicted in the film. Pasolini decided against shooting the film in the Holy Land, which he felt has overused and instead moved production to Calabria, an impoverished mountainous region south of Naples. Incredible also is the director's eclectic choice of the music from Bach and Mozart to rather brilliantly contemporary music like Sometimes I Feel Like A Motherless Child (hauntingly sung by Odetta), the striking Congolese Missa Luba (for the credits), and Blind Willie Johnson’s wordless wail Dark was the Night, Cold was the Ground.

Worth mentioning also is Pasolini's casting of his mother Susanna to play the middle aged Virgin Mary, a choice which some commentators on the film have scoffed at. Watching the film now in 2009 I feel there is something of a strange resonance at work here - its now widely believed that Pasolini's brutal murder in 1975 was a political assassination. Speculation aside, what is evident is the influence the film had on Martin Scorsese's own film about the life of Jesus, The Last Temptation of Christ. Scorsese originally wanted to shoot his film in Southern Italy, (but instead settled on Morocco) and certainly Scorsese's Christ shares the same forcefulness and urgency as Pasolini's.

Rolling Thunder

Possibly one of the driest revenge thrillers of the 70’s Rolling Thunder has for years been collecting a steady following of exploitation fans, for its somber mood and atmosphere. Unlike the righteous payback of say, Coffy or Death Wish, the revenge served up in Rolling Thunder is very cold indeed. The story concerns a recently discharged Viet vet, Charles Rane (played by William Devane) who arrives back home in Texas after enduring seven years of torture and captivity in a Hanoi prisoner of war camp. Rane returns home to a broken marriage and a son he barely knows. Worse is to come as a gang of Mexican toughs arrive at his home looking for cash. When Rane refuses to hand over the loot, the gang execute his wife and son, and plunge Rane’s arm into a garbage grinder, leaving him for dead. Rane emerges from his ordeal equipped with a metal hook for a hand, and hell bent on revenge, with the help of Vohden, his Vietnam buddy who’s eager for a bit of trigger pullin’...

Rolling Thunder began as a Paul Schrader penned script, which by the time it got to AIP, had undergone some changes, namely the character of Charles Rane who was originally a hard-line Texas racist. Although Schrader’s original idea for the character would not survive the re-write, Rane would appear in another guise – as Travis Bickle in Taxi Driver. Still, the film features some of Schrader’s preoccupations – guilt, self torment, and most explicitly, his love for The Wild Bunch, which informs the last act of the film as Rane and Vohden shoot it out in a Mexican whorehouse.

Originally Rolling Thunder was to be Schrader’s first shot at directing, but instead the directorial duties were handled by John Flynn who specialized in hard edge tough guy films like Best Seller, Lock Up, Out for Justice, and The Outfit, his best film after Rolling Thunder, an excellent Point Blank style thriller from 1973 starring Robert Duvall. Flynn’s direction is appropriately muscular but balanced by a great performance by William Devane who walks through the film like a ghost that left its body back in the POW camp. He’s a haunting presence in the film, his life meaningless and all but destroyed – the scene where he listens impassively to his wife’s dissolution of their marriage is one of the film’s great moments. Worth mentioning also, Rane’s restless Vietnam buddy Vohden, played by Tommy Lee Jones in a minor but memorable early role. In fact he delivers the best line in the film when he flatly declares to a prostitute, “I’m gonna kill a bunch of people”

Rolling Thunder remains an impressive film today, in spite of a thousand meaner and meatier revenge films that came in its wake. Influential too; First Blood director, Ted Kotcheff probably lifted the short black & white torture flashbacks from Flynn’s film. Tarantino is a major fan and has done much to promote Rolling Thunder over the years, showing a print at film festivals, and naming his distribution company after the film. Unfortunately, the film is still unavailable on DVD but can be found through the usual grey sources, and is well worth tracking down.