director Amando de Ossorio
“What the devil’s going on?”
In the Seventies, we were taught not to take candy from strangers and that there might be razor blades in apples and all but not to beware of gypsies bearing gifts, like demonic totems and necklaces. It’s pretty funny how right after accepting this totem, little Anne (Lone Fleming) instantly turns into The Bad Seed with a foul mouth.
Amando de Ossorio‘s witchy take on The Exorcist, Demon Witch Child, is a gnarly and loopy knock-off. Which I definitely enjoyed.
Its charms are a mixture of things, like the super clunky dub, the rather good makeup when Anne becomes the witch, the weird subplot about the priest and the prostitute, and literal emasculation by a possessed little girl.
director José Ramón Larraz
Director José Ramón Larraz’s 1980 horror flick Stigma is a walking ghostly bad dream. Actually, it’s Sebastian’s (Christian Borromeo) bad dream, psychic visions, or past life recollections.
Are his incest obsessions fantasies or tricks of repressed memories of a prior existence?
Larraz surprises at times with genuinely eerie images, somewhat surreal. Inflected as it is with a confused and violent sexual maturity, Stigma winds up being pretty interesting and evocative, even with a rough dubbing and a print in need of restoration.
director León Klimovsky
The Vampire’s Night Orgy is light on orgy, but is a pretty solid Spanish horror flick.
When their bus driver croaks suddenly, a group of people on their way to employment at some hacienda instead find themselves in the village of Tolnia, a town not to be found on any map. This is because the village is under the sway of the Countess (Helga Liné), a vampire. She rules the roost over all the villagefolk, who seem to all be cannibals or undead? Interestingly, they are cannibals that have to sacrifice their own limbs to feed these stranded travelers.
There is also a ghost boy(?) who befriends the little girl of the group. But with friends like these, who needs enemies?
It’s not as eerie as Amando de Ossorio’s Blind Dead films, but works along with that sort of vibe. The townfolk never speak, which is especially eerie when they descend on their victims.
As noted elsewhere, the soundtrack is unintentionally dissonant and annoying, but otherwise León Klimovsky’s The Vampire’s Night Orgy is a pretty intriguing slice of early 1970’s Euro horror.
director Eugenio Martín
The Ugly Ones features a lean, deft premise: a bounty hunter is after a popular criminal. Tomas Milian is Jose, the Mexican kid turned storied outlaw, a “Jesse James type”, ensnared by fortune-seeking free agents, not traditionally legitimate lawmen. Richard Wyler is the straight-shooting freelancer, but who is the real villain of this picture?
The Ugly Ones is also known as The Bounty Hunter, which is the name of the Marvin H. Albert novel from which it was adapted. Eugenio Martín’s Spaghetti Western offers a kind of noirish characterization – moral ambivalence, at least initially, on either side. Though, as the film wears on each protagonist starts to show his true colors.
In between the men is Eden, an interesting role for Ella Karin (a.k.a Halina Zalewska). No shrinking violet, she’s reaching for a pistol when we first spot her, hearing an intruder breaking in. She is at the heart of the village’s understanding of Jose, an active participant in the story, and moral barometer as well. Maybe a little too stylish for a Western but an interesting character and good performance.
It’s tight and aesthetically pleasing production. The Ugly Ones makes Quentin Tarantino’s list of top Spaghetti Westerns. As usual, his favorites are worth investigating.
director Joaquín Luis Romero Marchent
Cut-Throats Nine arrives as advertised, a pessimistic and violent Western, filmed in the snowy beauty of the Pyrenees. Its delicious premise, a lone lawman and his daughter are marching a chain gang across the snowy mountains, is inherently fraught with tension. The simplicity of this scenario is upended when it turns out that the chains that hold the men together are made of the gold that they had mined. And the intentions of even the lawman are thrown into deep doubt.
Joaquín Luis Romero Marchent uses interesting freeze frame preludes to flashbacks, stylizing further the backstories to the rough-hewn characters. Marchent and cinematographer Luis Cuadrado make the most of the gorgeous, icy landscapes.
It’s probably my second favorite Spaghetti Western I’ve newly seen this year, after Cemetery Without Crosses (1969). Interesting since these two aren’t purely Italian films and feature directors who were French and Spanish. Not that any grouping or genre needs to be completely neat and clean.
director Guillermo del Toro
It had been a decade since I saw Guillermo del Toro’s Pan’s Labyrinth on its initial release in the theater. Like a lot of people, I’ve considered it his best film, certainly a partner to his 2001 The Devil’s Backbone.
I generally enjoy del Toro’s work, though his more commercial stuff seems thin on substance, if aesthetically pleasing and occasionally pretty fun. I follow him on social media and even got to go see his collection of stuff at the LACMA Guillermo del Toro: At Home with Monsters.
In 2007, my kids were 6 and 3 so I didn’t take them to see Pan’s Labyrinth at the time. I’ve long thought they might enjoy it, but only just now got around to sharing it with them.
I was surprised that my daughter was sort of nonplussed about it. I’d thought she would dig it more. My son, as is his wont, fell asleep early on but wanted to watch it again.
I think it holds up pretty well. The aesthetics and story are nice, the performers solid. It’s a dark fairy tale about childhood, escapism and fantasy. The CGI doesn’t hold up as well, but it never does if you ask me. Maybe it’s not as deep or rich as it could be, but I’d still call it his most complete film.
director Giorgio Ferroni
The Family of the Vourdalak, a novel by Aleksey Konstantinovich Tolstoy (the “other Tolstoy”), is the source material for Giorgio Ferroni’s The Night of the Devils. It’s also known for being the source material of the “I Wurdulak” segment of Mario Bava’s fantastic Black Sabbath (1963).
Yeah, I know, everybody knows that or can look that up on Wikipedia.
I actually don’t have a lot to offer here that others have not said already. The Night of the Devils is a different flavor of Italian vampirism, salted with its variant folklore. There is something strange and hard to put one’s finger on about modernizing the story to the then present day 1970’s. It’s sort of dislocated, like having stepped into a dream (or nightmare) of more Gothic times. It also features some very evocative effects on top of it all.
Well worth seeing.
director Jesús Franco
Mondo Cannibale is neither the best nor the worst cannibal flick ever, though it’s closer to the latter.
It’s kind of like H. Rider Haggard’s She as a cannibal flick with an origin story. With 17 year old Sabrina Siani as blonde cannibal queen. Her father, played by Al Cliver must return to rescue her.
It features some very ethnically diverse cannibals in hella face paint.
It’s crap for sure but it’s the first film I’ve seen that I’d definitely say that Jesús Franco elevated with his style. Maybe because it was less a pure Franco flick, not working from his own script.
Ah, well. Vive, Franco!
director Manuel Caño
“In infinite time, what happens happens.”
Just last week, I watched American Mummy (2014) which was a bit of a misnomer since there was no re-animated mummy in it. And now Voodoo Black Exorcist, which despite its title, is actually a mummy movie! Go figure. Marketing moves in mysterious ways.
Voodoo Black Exorcist is indeed stupefying, as the poster suggests, though terrifying, not so much. It’s a Spanish production that starts out with some seriously chocolaty black-face before we get our Caribbean mummy story. Why is it every mummy story hews to the trope of awakening and looking for a doppelganger or reborn version of a lost love? Don’t mummies have other motivations?
The camerawork is kinda bizarro, in a good way, but this is cheap, bad cinema, which you have to like in order to appreciate. It’s terrible but terribly fun too if you like trash like I do.
Some of the action takes place in some really cool caves.
And the quote that kept resounding: “The best hamburgers in the world.”
director Jesús Franco
“Without fantasy one’s life isn’t worth anything. And one doesn’t need it only when drinking.”
I’m guessing Two Undercover Angels and Kiss Me Monster were made in quick succession because it’s hard to imagine the success of the first led to the second.
A.k.a Sadist Erotica, Two Undercover Angels is a slightly more conventional spy spoof sex comedy starring Janine Reynard and Rosanna Yanni in the hands of Jess Franco.
I preferred the sequel because it’s far loopier and nonsensical. Here the Red Lips girls are on the track of abducted models and a killer artist who likes to paint horrendous murder in the act with the help of his hirsute henchman.
There are some wonderfully dead line readings by the voice-over cast.