1970s, AGFA, Blu Ray, film, independent, nudity, obscure, rare, review, sex, SOMETHING WEIRD, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized, weird

BAT PUSSY(Blu ray) AGFA/SOMETHING WEIRD

BAT PUSSY (1970?) (AGFA/SOMETHING WEIRD BLU RAY) Color 50 minutes plus second feature ROBOT LOVE SLAVES (54 Minutes ,1971, color) $21.99 S.R.P http://www.diabolikdvd.com/product/bat-pussy-agfa-blu-ray/

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Many years ago, I recall a book on the newsstand called HOW TO MAKE YOUR OWN PORNOGRAPHIC MOVIE. It was a how to do it yourself instruction book about editing, sound, camerawork- a basic how to make film book, only about x rated filmmaking.

Watching BAT PUSSY, I felt that the nameless creators of this film had the book on hand, but were missing several pages. This may have been the first porn parody of Batman, though it is far from a good one.

Anyone who tells you that Ed Wood was the world’s worst filmmaker needs to apologize after they see this film.

That is not to say the film is without interest. Quite the contrary. You stare but cannot look away. It is perhaps the most unsexy sex film ever made, and certainly one of the weirdest.

 

It is as if two characters from a local production of WHO’S AFRAID OF VIRGINIA WOOLF decided to carry on their haranguing from the stage to the bedroom. Only here, they are not George and Martha, but Buddy (who looks like an out of shape Bo Hopkins) and Sam (a freckled redhead with a bouffant that would make the B -52’s envious).

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(reading? Nahh,just lookin’ at the pictures! )

 

Buddy is reading SCREW (the issue is from 1970, so that is a possible date for when this film was shot over the course of an afternoon.) as Sam lays upon their bed. Buddy decides that they should try some of the stuff he sees in the paper, and so they go at it. Poorly. Buddy is someone for whom Viagra would come in handy some twenty odd years later. No matter what, his Little Buddy refuses to awaken.

BatPussy1973BudSam

 (The Burton & Taylor of BAT PUSSY )

 

The un-erotic oral and fingering sex session leads to a lot of swearing and insults to and about each other. You wonder for whom was this film meant to appeal? Just when we feel that we are trapped in a cell of Hell forever with these two, we cut to another location (it’s almost a shock that we escape, however briefly.).

 

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A nightie clad woman lays in a dingy cellar that a scrawled BAT PUSSY HEADQUARTERS on ruled line paper identifies as -well, Bat Pussy’s headquarters! The bored woman senses sex is happening elsewhere and decides she must get there. Every expense is spared on this one take wonder, and on the table in front of her is a paper cup, a can of soda, and some furniture polish spray left upon the table. That’s as far as they go with set dressing.

 

She gets up and whips off her nightie (getting it caught around her head while trying to pull it up) and finds a makeshift costume, transforming herself into BAT PUSSY!

Quick, to the Hopper Ball!

What?

 

Yep, she climbs aboard one of those big rubber bouncy balls with a handle and bounces her way across the screen, along a highway, into a field by a creek (stopping to pee. All that bouncing you know) and into a park where she stops long enough to sock a guy harassing a woman. Then back to her original sojourn. The two in the park are never identified but must have been just friends of whomever shot this flick. Most of this journey is shot in long shot so we feel and experience how slow it is to bounce to an event rather than running or even walking.

highway

 

Finally, Bat Pussy shows up at Buddy and Sam’s , where she is quickly grabbed, undressed, and becomes part of a most unerotic ménage à trois. Finally, it seems Bat Pussy gets bored (or angry at Buddy getting her name wrong, calling her Bat WOMAN), grabs her clothes and leaves. The end. That’s it.

 

 

Did they run out of film? Did they just get tired of each other’s company? Did they have to get the Hopper Ball back to the kids? Who knows? All you will know is that you have experienced something quite weird. Tommy Wiseau all that this film is missing.

 

It is fitting then that SOMETHING WEIRD is the company that “saved” this film from disappearing. Back in the 1990s, Mike Vraney bought a bunch of 16mm films that were abandoned and rediscovered in a Memphis Tennessee theatre, among them was the film that Mike himself christened “Bat Pussy”. There were no title cards, no way to identify who the performers or “filmmakers” were.

 

“Let us punish the guilty. Let us reward the innocent” to quote Ed Wood. That at present is not possible, though the good people at Something Weird certainly tried, along with many others. No one has stepped forward to acknowledge of their involvement in BAT PUSSY.

 

It is thought that this was made for an indie porn theater for local consumption. Seeing how much the distributors made on these films, the local theater owner must have decided that he wanted 100% of the profits.

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So, what if the boom mike drops into the shot? No one is coming to see these films for their technical quality. It’s for the trench coat crowd. Look it’s in color and has sound. Yes, the colors were ugly and yes, the sound is dialogue that sounds like Angry trolls possessed by Don Rickles with Tourette’s are talking. It was cheap and ran long enough to live up to the claim it was a feature.

 

It is thought to have been made in Arkansas, due to the accents as well as an Arkansas Razorback tattoo on Buddy’s unattractive posterior. We are told (via the commentary track, more on that later) that this was just a blur in the old prints but thanks (?) to hi-def, we can see this and other little details that once viewed cannot be erased from your mind.

CENSORED

 

 

Back to the restoration (sorry, this film plays tricks with your sense of continuity). The film was from a 16mm print, which may] and almost certainly the only copy still in existence. Like most 16mm films shown constantly, it had wear and tear upon it as well as faded color.

 

Enter American Genre Film Archives (and hopefully not riding in on their own hopper balls). Along with Lisa Petrucci and Tim Lewis of Something Weird, the film was scanned to a 2K  1080p transfer in 1.33:1 ratio. The images are more likely the sharpest that they have been in 40 plus years.

 

That of course is not saying much. No one would confuse the camera work here with that of Geoffrey Unsworth and the “director” is no Kubrick. Set the camera and let it run, and the locked off camera makes me wonder if Buddy, Sam, or Bat Pussy herself were the person who pushed the button and let the camera run, and dashed into the scene, letting the machine run until the film ran out.

AGFA has sharpened the image, but left a lot of the blemishes and scratches to retain its grindhouse feel. The DTS-HD MA English 2.0 mono track does nothing to make the dialogue any clearer and indeed subtitles would have been helpful, though it is interesting to try and understand some of what is mumbled. Does Buddy say he is going to “fuck someone in the nose “?

 

Like most SOMETHING WEIRD releases, this disc has a collection of interesting and eclectic extras:

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A theater intro about a minute long warns that the film about to be presented is sexual in nature and if you cannot deal with such things to leave the building. Was that made for legal reasons at the time? Or had someone possibly wandered into the theater thinking this was legitimate Batman tie in feature? I kept waiting for William Castle to warn of Emergo, which would be of a completely different nature in a film like this.

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A running audio commentary by is supplied by Something Weird’s Lisa Petrucci and Tim Lewis, Bleeding Skull’s (http://bleedingskull.com) Annie Choi, and AGFA’s Joe Ziemba (also from Bleeding Skull) and Sebastian del Castillo. The team are enthusiastic and laugh along at the nonsense on screen, which would probably be the reaction if you popped it on for other like-minded fans of schlock to view at a party. They also supply as much info as they can on the project, especially on its discovery and rebirth into video and now Blu Ray.

 

THE SHOPLIFTER (Highway Safety Foundation,1964,20 minutes, color) is supposed to be a warning to store workers, but is a how to as well to become a shoplifter!

 

DATING DO’s & DON’T’s (Coronet,1949,13 minutes, color) is one of those sincere but laughably date films that were brought out for high schoolers when teacher needed to rest.

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A TRIP TO THE STOREFRONT THEATER (no info ,1970s,2 minutes) has a happy couple go the said theatre and see a guy in a werewolf mask have sex with some bored woman, the couple leaving after viewing this, smiling! Is there a lycanthropic fetish?

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CRIME SMUT TRAILERS: a collection of Black & White and color “cumming attractions “from such wonders as THE BLACK ALLEY CATS (1973) and 7 others. A lot of unattractive men ogle and sometimes grind upon some women who probably thought that this was a good career move when they did these flicks.

ROBOT LOVE SLAVE

Speaking of unattractive men pawing prettier young women, we are given another full-length feature, ROBOT LOVE SLAVES (also known as TOO MUCH LOVING, no releasing company info ,1971 ,54 minutes). A soft-core film that at one point had hard core inserts (some of which only remain in its trailer, not on this disc), it is another film where attractive women are once again paired with gangly and just plain ugly guys. I am sure that they looked like the trench coated crowd who went to these films but if these guys were the only choices for the females in real life, the race would quickly go into extinction.

ROBOT
Clark (uncredited) is a geeky, glasses wearing looking nerd (though that could also describe yours truly!) who’s wife (also uncredited) nags her husband for attention (a theme for the two features- Nagging Sex Flicks!).

 

DRINK HIM IN
Clark has been busy in the basement creating naked robot female love slaves, beating WESTWORLD (HBO,2016) by a few years. These robots exist for one purpose, pleasure, be it with Clark, his neighbor Harry, Harry’s wife (Candy Samples, who probably is best known as Chief Nellie in FLESH GORDON, Mammoth Films,1974. This may have been one of if not her first film, having begun nude modeling at age 40 sometime in 1968-69), and finally Clark’s wife.

I assume that the filmmakers felt that no one would admit to seeing this film, as they seem to use some famous songs in instrumental versions.I mean,who would admit they went to such a film in the theater ?

The print of this is from a well worn 16 mm copy, with scratches and splices, but it does add to the grind-house feel.

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(Something Weird’s DVD-1 )
The final cool extra is a booklet by Mike McCarthy called “I Saved Bat Pussy”.

Having worked in a film storage house, I saw first hand how easily films could be mislabeled and lost ,so I have great  respect for Lisa Petrucci and team continuing the work of Mike Vraney .

 

Lately, SOMETHING WEIRD has been experiencing an odd sort of censorship. Credit card companies for months were refusing to deal with the company, due to S.W. carrying pornographic films! This, from credit card companies that make fortunes due to letting people download porn in hotel rooms, buy in adult stores, etc. It seems that they were targeting an independent company for no good reason, as their argument does survive even a cursory scrutiny.

 

 

By removing one or two titles from their site, Credit Card companies are grateful to once again make money on both purchasers and Something Weird.

 

 

Amazon has decided that the title  BAT PUSSY is too pornographic for their consumers (while carrying kindle porn like “After The Ball Game: Annie Plays With Coaches Bat”-look it up) so it is great that companies like DIABOLIK have stepped up to carry the film.

Diabolik-logo-new

 

Show your support of these indie companies that support films beyond the mainstream.

 

AGFA & SOMETHING WEIRD have also released (so far )THE ZODIAC KILLER (reviewed by SCARLET https://scarletthefilmmagazine.wordpress.com/2017/08/23/the-zodiac-killer-agfa-something-wierd-blu-ray-released-july-252017-another-son-of-sam-34-95/ https://scarletthefilmmagazine.wordpress.com/2017/08/23/the-zodiac-killer-agfa-something-wierd-blu-ray-released-july-252017-another-son-of-sam-34-95/ ) , and the Ed Wood written THE VIOLENT YEARS (https://www.amazon.com/Violent-Years-Blu-ray-Jean-Moorhead/dp/B073ZWJWQ8/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1512571396&sr=1-1&keywords=VIOLENT+YEARS+blu+ray ).

 

AGFA has also released the long-neglected EFFECTS, created by several people, including Tom Savini, who worked with George Romero. (https://www.amazon.com/Effects-Blu-ray-Tom-Savini/dp/B06ZYRPZH8/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1502209114&sr=1-1&keywords=effects+blu+ray )

Keep up the great work, AGFA ( https://www.americangenrefilm.com/ ) and SOMETHING WEIRD (https://www.somethingweird.com/).

 

RIDE THE HIPPITY HOP!
Kevin G Shinnick

YOU NEED A BELT WITH

By the way, if you want to read more, there is even a Wikipedia page about the film. https://en.wikipedia.org/wiki/Bat_Pussy

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DE LIFT/THE LIFT and DOWN(THE SHAFT) Blu Ray/DVD Combo packs from Blue Underground

THE LIFT/DE LIFT 1983(Ltd Ed Blu Ray/DVD combo)Blue Underground $39.98 region 0
Color / 99 min. Dutch /English

https://www.amazon.com/Lift-Limited-Combo-Blu-ray-Stapel/dp/B074BNZP7G/

DOWN -2001 (Ltd Edition Blu Ray /DVD combo ) Blue Underground $39.98 region 0
Color /111 minutes English
https://www.amazon.com/Down-Shaft-Limited-Combo-Blu-ray/dp/B074BNB14B/

Back in 1982, ‘Twilight Zone” by Golden Earring was a music video in constant rotation on the new channel MTV. The catchy tune  referenced the
popular TV.series as a suspected spy is caught and interrogated . Several music video directors went on to make popular fantasy films ,such as David Fincher ,Russell Mulcahy, and Alex Proyas.

Also among them was Dutch director,writer,producer, and musician Dick Maas. Since then he has given us many Dutch thrillers and horror films like AMSTERDAMNED(1988,also available from BLUE UNDERGROUND https://www.amazon.com/Amsterdamned-Limited-Combo-Blu-ray-Stapel/dp/B071GW2L2Z/ ), SINT (SAINT) 2010,up to 2016’s PROII (PREY). His films are marked by their style as well as dark humor that permeates them.

His first film that drew him to international attention was DE LIFT . In a modern apartment building in Amsterdam, strange things are happening ,most of which seem to involve the bank of elevators . The company who are responsible for the maintenance of the three conveyers (or lift of the title ) send Felix Adelaar (Huub Stapel ,later to star in MaasAMSTERDAMNED )to check out the systems.

While working, he runs into reporter Mieke de Boer (Willeke van Ammelrooy, star of the art house hit and Oscar winning ANTONIA’s LINE ,1996)who is investigating the strange events.

Among the occurrences are two drunken couples who are trapped in an elevator while the heat increases to dangerous levels , a blind man who falls into an empty shaft (and which the building owners declare is a suicide) ,and the gruesome decapitation of a security guard .

The more the Felix & Mieke investigate, the more strange things become. Is the company RISING SUN,who provides microprocessors for the system ,somehow involved with the strange things?

 

Their detection leads to Adelaar’s wife leaving him and taking the children, thinking that he is having an affair with the journalist. His boss also suspends him. Felix has nothing to lose as he goes to building one final time to find out what is happening and confront the evil within.

DE LIFT seemed to have done well in Europe, but it was not as well received in the United States.

Released to a limited number of theaters in July ,1985 , critics were indifferent to the foreign title ( “Mr. Maas leaves the elevator’s potential fiendishness largely unexploited.”-NY Times,July 4,1985)and 6 year old distributor Island Alive folded shortly after .)

Luckily ,video stores were booming and Media Home Entertainment released it on VHS in 1986 in a dubbed version, and in 1988 through their foreign film division Cinematheque Collection in a Dutch language subtitled print.

Maas continued to create wonderfully off kilter films through his First Floor Features .He creates three popular Dutch comedies and a T.V. series (FLODDER)as well as the marvelous already mentioned AMSTERDAMNED (1988) and even an episode of the THE YOUNG INDIANA JONES CHRONICLES (‘Transylvania Transmission”).

It seems that for years people kept after Maas to do a sequel or a remake to DE LIFT. Finally in 2000, Maas raised sufficient funds (fifteen million Euros) for a larger version that expands on several of the ideas from the original film, and hires American actors as the leads as well as several marvelous character roles.

While set in New York City , the majority of the film was shot in Holland on some of the biggest sets ever built for a Dutch film .Some street scenes and aerial photography were the bulk of the American footage. The blending is for the most part flawless, and even the Dutch actors blend in convincingly in this English language film.

In DOWN (also known as THE SHAFT ,which makes one expect it to be a film about Richard Roundtree ), the setting is in a modern NYC skyscraper. In the Millennium Building, one of the elevators malfunctions and traps a group of pregnant women ,overheating the air and several of them give birth !

The building managers call in the Meteor company that maintains the elevators, who send Jeff (Eric Thal ,Sam Nevins in Buena Vista’s adaptation of Robert Heinlein’s THE PUPPET MASTERS,1994 ) and his new young assistant Mark Newman (James Marshall ,who is best known for portraying James Hurley in the original and revival of TWIN PEAKS )to check them out. Newman wants to do a more in depth review of the systems ,but his partner feels that will be too much of an inconvenience to the building, and expensive. Mr Milligan (Edward Herrmann, LOST BOYS ,W.B. 1987),the building owner, agrees.

Not long after that , a blind man and his seeing eye dog fall (literally) victim to the killer machines. One of the security guards who finds the corpses hanging in the shaft gets his head caught in the door and decapitated when the elevator descends .

Reporter Jennifer Evans (Naomi Watts, later to star in Peter Jackson’s epic KING KONG ,Universal,2005) starts to investigate, and she interviews Newman ,quoting him in her article as saying “ 9 out of 10 people make it out of an elevator alive.”

Newman is chewed out by his boss ,Mitchell (the always wonderful Ron Perlman, HELLBOY,Columbia,2004). Shortly thereafter, another bizarre death happens ,when a skateboarder is pulled supernaturally into an elevator and within seconds hurled up to the 86th floor, and then flung out violently ,through a glass partition and off to the ground below .

A press conference is held by Milligan and Police Lt McBain (Dan Hedaya,THE USUAL SUSPECTS, MGM,1996). The official statement is that the skateboarder committed suicide, and that it had nothing to with the previous accidents .

Evans does not believe it ,and she visits Newman’s home .She has gotten several surveillance tapes, and it shows the skater’s death. Most mysterious, the elevator trip, which should take at least 40 seconds, is accomplished in less than two!

Jeff refuses to believe them ,and so they go to Evan’s newspaper office . Their research keeps bringing up the name of a researcher named Gunther Steinberg (Michael Ironside, forever typecast as a villain thanks to his brilliant work in SCANNERS,Avco Embassy ,1981). Gunther ,who had worked with the army on mixing dolphin brain mass with electronic circuits ,was hired by the elevator company to develop microchips .

The next morning Milligan is horrified when he has the body of Jeff drop through the ceiling of the elevator he was occupying. Jeff had probably been checking the elevators but Milligan and company use his death as a means of scapegoating. At the conference, they call Jeff deranged and say that he had been responsible for all the events, and probably died trying to set up another incident.

The story is believed and the building conducts business as usual. That is ,however, until one elevator speeds upward, the bottom dropping out and passengers, including a small child, fly helplessly downward to their doom . Those who hang on are not safe, as the container hurls at extreme speed through the roof ,stopping with a crushing Impact.

The President of The United States holds a White House press conference ,where he announces he feels that the events are due to terrorists and a terrorist team is sent to protect and prevent any further incidents.

Evans and Mitchell continue to investigate the bizarre history of the building, and the experiments of Steinberg .

Since the Army let him go, it seems that he has continued,only now their may be human DNA ,and the chips have become sentient, and evil.

Can they get in the building, pass the militia and Steinberg to stop the evil ? The film ends like a supernatural DIE HARD (Fox,1988)

DOWN was given a token release by Buena Vista International on May 20,2001. It seems to have come and gone quickly ,and the home video rights were acquired by Artisan . It seemed to have also made little impact on the dwindling video store market ,and with fandom .

Now BLUE UNDERGROUND has done stellar work on finding the best material possible on these two films, and put them on Blu Ray.

THE LIFT is a 1080p HD resolution print 2 K restoration from the original negative , presented in 1:66:1 wide-screen.The film is available in it’s original Dutch Language (5.1 DTS-HD or 2.0 DTS-HD) or English (2.0 DTS-HD). The sound is very clean and clear, with sound effects and original music jumping out at certain points.

Dick Maas also composed the score , and it is one of those now dated sounding synth scores as well as electronic whooshes and sounds .

The English track uses terms like “lift” (a direct translation of the title)rather the more common American usage.

The subtitles seem to be based upon a direct translation of the Dutch dialogue ,as it does not always match the English language dialogue. They are clear and easy to read. There are also English SDH and Spanish subtitles as well.

Other extras are :

-A running commentary by director Dick Maas and editor Hans van Dongen who talk about the difficulties of making this film on a 350,000 Euros budget.

-”Going Up” an interview with star Huub Stapel

-”Long Distance”-a short 4 minute short that has the feel of a Twilight Zone episode ,wherein a father who has had a car accident, calls his home and speaks to his daughter . Beautifully filmed and acted.

-Trailers from the U.S. and Holland

-A poster and still gallery .

-a nice newly written essay booklet by by writer /filmmaker Chris Alexander . He nicely covers the film ,plus discusses the more relaxed mores of European filmmakers about sex and nudity as well as comparisons to Stephen King works about machines gone wrong. He prefers the original film to the 2001 remake.

For DOWN , the film is also a brand new 2K restoration from the original negative, 1080p HD Resolution , presented in a 2.35.1 wide-screen all region print .

The audio is available in the original English as well as French in both 5.1 DTS-HD or Dolby Digital Stereo .

The sound is more mixed for multi speaker presentation (due no doubt to it’s larger budget ),with sounds being very crisp and clean.

The Yellow Subtitles are easy to read, though whomever wrote them , they need to learn the difference between “Your “ and “You’re” .

Spanish subtitles are also available.

Other extras include :

A running audio commentary with Maas and stunt coordinator Willem de Beukelaer . Maas at times seems to have forgotten how certain scenes were done ,but is reminded by de Beukelaer (an example is the opening shot that moves from C.G.I.  and model shots to the live action.On the extras ,we see how the shot was accomplished.More on that later.). It is fascinating to hear the two say how they have worked together since AMSTERDAMMED ,and the difficulties of doing a film like this. The recreations of New York interiors is perfect ,and it seems the diner was actual functional (too bad they didn’t move it to an actual building.I am sure it would have been a hit with tourists to have an American diner in Amsterdam!).

The same director of photography (Marc Felperlaan )worked on both films ,and they recreate some shots ,while using a little C.G.I. to blend between the real actors and effects(such as the beheading in the elevator).

The director seemed to have had disagreement with Marshall on the exact tone of the film, but it does not come across in the finished production.

Director Maas mentions that the film opened the weekend before 9/11, but he is referring to the European opening. It seems it opened well, but after the events, the film did no business.

It is easy to see why. A New York Skyscraper ,people falling to their death, the President referring to terrorists (dialogue was actually copied from President Bill Clinton referencing the Feb 26,1993 bomb attack on the Twin Towers). It is quite creepy ,and not in the way the film intended. Needless the film ended up being a financial failure.

The use of Aerosmith’s “Love In An Elevator” was a big expense but is a nice button to the film.

Other extras are

The Making of Down : a behind the scene look at the making of the film, including the construction of the huge sets, and the mix of CGI and live action,as well as the various stunts.

The Blu Ray exclusive is a more detailed behind the scenes documentary.

-There is also the American teaser and theatrical trailers.

-A poster and still Gallery

– A Collectible booklet with a new essay by Michael Gingold.

 

Both films have much to recommend them . The original has a nice gritty quality to it , though oddly, I lean more to the slicker American remake. It is probably because of the expanded story-line plus the dark humor comes more to the fore . The remake does seem to fluctuate as to whether there is a supernatural element or is it a sci fi A.I. story (or both) , but it doesn’t take away from the film.

Maas handles possessed machinery better than Stephen King film adaptations like MAXIMUM OVERDRIVE (1986,D.E.P.). It also predated supernatural skyscraper films like the little seen  DARK TOWER (Sandy Howard, 1987 ;directed by Freddie Francis (as Ken Barnett), Ken Wiederhorn  (as Ken Barnett)(!!) starring Jenny Agutter and Michael Moriarty) and elevator terror films like DEVIL (Universal,2010) or ELEVATOR ( Inception ,2011) .

 

I would definitely recommend both films ,especially if you wish to see an example where a foreign director remakes his film in English and doesn’t mess it up (a la THE VANISHING (Argos Films,1988  and  Fox,1993).

Both Recommended.
.
-Kevin G Shinnick

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The Jester’s Supper (DVD)

SCARLET THE FILM MAGAZINE DVD REVIEW
THE JESTER’S SUPPER (La Cena delle Beffe) 1942 Italy 82 minutes B&W –Historical Drama – $19.95 from CAV Distributing Corp / One 7 Movies. Region 0 DVD available through http://www.oldies.com/product-view/83234O.html as well as Amazon and others.

 

 
Thanks to Turner Classics, I have been on a foreign film binge of late so the arrival of this DVD could not have been better timed.

 

 

 
The film THE JESTER’S SUPPER (la Cena delle Beffe) was an extremely popular costume drama produced during WWII. For those who think Italian Cinema began with the neo- realists after the war, this film will come as something of a revelation. With the output from Hollywood cut off, the Italian populace truly embraced their home grown productions. The Fascist government, under son, Vittorio, realized the power of film, sponsor movies (even constructing Cinecittà studios) but their films were mostly of a propaganda nature. However, they also produced comedies and historical dramas that rivaled American productions with their artistry and skills.

 
THE JESTER’S SUPPER is based upon a popular play by the Italian writer Sem Benelli, which was first staged in Italy in 1909. In 1919 the play was put on in New York City . The play was the basis for an opera La cena delle beffe composed by Umberto Giordano with a libretto written by Benelli himself. It premiered at La Scala Opera House in 1924.

 

 

 

The film was shot at Cinecitta using leftover sets from a previous big budget epic from 1941 La corona di ferro (The Iron Crown). Set in Renaissance era, two aristocratic brothers, Neri (Amadeo Nazzari) & Gabriello (Alfredo Varelli ) Chiaramantesi, have been abusing the people of Florence with impunity due to their power and station. Things begin to change when Neri dares to ravage Ginevera (Clara Calamai) in front of her lover Giannetto Malespini (Giannetto Malespini) then toss him into the river. He survives, and what happens next is a tale of revenge best served Italian style.

 

 
Amadeo Nazzari, usually a hero, was cast against type and played the lecherous villain here. He usually sported a mustache and I could see why .Even clean shaven, here he resembles Errol Flynn. Amazingly, he turned down Mussolini’s request to join the Fascist Party and yet continued to have a successful career during the War years. He played a movie star (!) in Fellini’s classic Le notti di Cabiria/ NIGHTS OF CABRIA (1957).

 
Valentina Cortese, then 19, appearing as Lisabetta, is perhaps best remembered (she is still alive at this writing, age 94!) for her Oscar nominated turn in Truffaut’s La Nuit américaine /DAY FOR NIGHT (1973).

 


THE JESTER’s SUPPER boasts one of Italian Cinema’s first topless nudity scenes, when actress Clara Calamai has her top torn from her by the lustful Neri. In interviews, Calamai had not wanted to do the scene, but felt compelled to by the director. That quick flash of nudity is a reason that people went to see the film again and again. Though often cited as the first bit of nudity in an Italian sound film, Vittoria Carpi showed a bare breast for a moment in THE IRON CROWN/La corona di ferro  (1941)   which was also directed by Blasetti. Horror fans may recall Calamai from Dario Argento’s Profondo rosso /DEEP RED (1975) coming out of retirement to portray the eccentric matriarch, Marta.

A kissing scene and the topless scene both appear in the final montage of CINEMA PARADISO (1988).( http://www.filmsite.org/cinemaparadisokisses.html )
Some of the performers did not live long after WWII. Due to their Fascists leanings, both Osvaldo Valenti and his pregnant mistress Luisa Ferida, who appeared in several movies together, were executed without trail on the streets by partisans.


Director Alessandro Blasetti was called the father of Italian Cinema because he led to the revival of Italian Cinema in the 1930s and becoming one of the leading figures during the Fascist era. He is also known as one of the first directors of what became Italian neorealism with his 1942 film Quattro passi Fra le nuvole /FOUR STEPS IN THE CLOUDS. Amazingly, even though he seemed to have strong ties with the Fascists government, it does not seem to have affected his career, as he is listed as having made films after the War from 1946 to 1969.

 

 
The print used by ONE7 MOVIES is incredibly sharp, with just a little digital artifacting appearing on certain shots. The subtitles (which have an on/off option) are quite easy to read .The sound is clear and the score by Giuseppe Becce sounds rich even in its original mono sound. The only extra is a brief photo gallery that appears to be frame blow ups.

 

 

 
Raccomandato (recommended!).
-Kevin G Shinnick

(originally published on SCARLET THE FILM MAGAZINE REVIEWS FACEBOOK PAGE,May 18, 2015. Updated May 7,2017)

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1990s, Argento, Blu Ray, cult, fantasy, film, genre, Horror, international, Italian, nudity, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized, wax museum, wierd

WAX MASK (blu ray)

7737_tnTHE WAX MASK(aka M.D.C. – Maschera di cera ,Italian 1997) (Blu Ray) release date Jan 31st,,2017 by One 7 Movies .$29.95 .color 94 minutes.      https://www.amazon.com/Wax-Mask-Blu-ray-Robert-Hossein/dp/B01N40CACQ/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1485396004&sr=1-1&keywords=wax+mask

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THE WAX MASK is a wonderful throwback to the Italian Gothic Horrors of the 1960s, mixed in with considerably more graphic gore and nudity as was more permissible in 1997 when this film was made.

1999: DARIO ARGENTO, FILM DIRECTOR

                       DARIO ARGENTO

Dario Argento, the reigning king of Euro Horror ,had tried for a year to raise funds to produce a film to be directed by Lucio Fulci. Fulci , who had his own niche in gory Italian horror (ZOMBI 2, aka ZOMBIE ,1979) ,had fallen out favor ,due to lending his name to projects that he was not involved with ,as well as Fulci being ill at various times from the early 1980s .

 

At first, they had thought of an update of THE MUMMY (Universal,1932) before deciding on a semi remake of HOUSE OF WAX(WB,1953, itself a remake of the 1933 WB classic MYSTERY OF THE WAX MUSEUM) .Fulci wrote a screenplay ,but more delays occurred due to Argento’s THE STENDAHL SYNDROME (1996.)

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 Mystery Of The Wax Museum (WB ,1933)
Fulci passed away March 13,1996 from diabetes . Argento had the script reworked by Daniele Stroppa (who had worked on the screenplays for two of Fulci’s later films ,HOUSE OF CLOCKS(1989) and VOICE FROM BEYOND (1991) .How much the scripts  vary is unknown by this reviewer .
However ,to quote an interview with Massimo F Lavagnini (printed in DRACULINA # 24)
Fulci said:

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…. I think we start shooting in September. About the story, I can say it isn’t a carbon copy of the original HOUSE OF WAX, which obviously inspired us. Our story is settled in 1915 in Torino. The protagonist is a frustrated artist who kills and becomes a monster, because of the faults of society. …………..We have seven or eight ultra-violent scenes . *

 

 

 

Sergio Stivaletti, who had handled effects for Argento on PHENOMENA(1985,aka Creepers) ,OPERA(1987) and THE STENDAHL SYNDROME, as well as DEMONS(1985) and CEMETERY MAN (1994),stepped into the director’s chair . Having directed second unit for Argento, Bava, and Soavi, he had picked up a few pointers on how to director horror with style. Supposedly, Stivaletti, who had been preparing the films effects, had only two weeks’ prep time. If so, it makes the film even more impressive.

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The film opens December 31,1900 in Paris (why does every room in Paris seem to look out upon the Eiffel Tower in movies?). However, the new year brings the discovery of a gruesome double homicide, and the police find that the only witness is a frightened 12 year old girl.the-wax-mask-1

 

The film then jumps 12 years ahead to Rome. At a brothel, Luca (Daniele Auber, who also works in effects, later winning an Emmy in 2002 for Outstanding Makeup for a Miniseries, Movie or a Special (Prosthetic)) bets others there that he can spend the night in a newly opened Wax Museum which recreates some of history’s most notorious killings. The idea of spending the night in a spooky place seems to be lifted from CASTLE OF BLOOD(DANZA MACABRA,1964),showing that the filmmakers know their classic horror films. Sadly, it does not end well for Luca,who supposedly dies frightened to death.

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Museum owner Boris Volkoff (the name a nod to Boris Karloff?)(portrayed by French actor Robert Hossein (THE BURGLARS/Le Casse,Columbia 1971)plans a series of new exhibits to exploit the press that the unfortunate death brings to the museum .

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Volkoff, however, has a dark secret -he and his assistant Alex (Umberto Balli,who seems to have only done one other film)are creating their lifelike figures by capturing people and then injecting them to keep them alive and immobile under the wax!

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Volkoff hires Sonia (Romina Mondello, later in Harry Alan TowersDEATH, DECEIT, & DESTINY ABOARD THE ORIENT EXPRESS (2001)) to create costumes for the figures. Sonia however, happens to be young girl from the film’s opening, and the violent tableaux’s bring buried memories of her parents murder back. Luckily , Inspector Lavin (Aldo Massasso,later in Argento’s PHANTOM OF THE OPERA (1998) and SLEEPLESS( Non ho sonno ,2001))who had investigated the murders of Sonia’s parents is in Rome . With the help of Andrea( Riccardo Serventi Longhi,who appeared in the t.v. film CAVE OF THE GOLDEN ROSE 4 aka Fantaghio 4,1994,for Lamberto Bava) they start to see if they can uncover the mystery of the wax museum .

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The ending is wildly delirious, and lurches into TERMINATOR (Hemdale,1984) territory. Up to then ,however, it is a gory tribute to older horror films with some marvelous effects (though the early CGI, in particular, the fire effects ,were not effective even when the film first came out).

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Reviews were for the most part positive  like this one :

(Variety April 20, 1997 )
Gothic horror is alive and kicking in “Wax Mask,” a luridly entertaining return to the style of Britain’s Hammer productions of the ’60s)

 

and the film appears to have done decent business throughout most of the world, but only garnering a token home video release via Image Entertainment a few years later.mv5bmje1odeyodc0ov5bml5banbnxkftztcwnde1mdkymq-_v1_uy268_cr60182268_al_
The French-Italian co-production looks stunning. From costumes to set designs, the film looks so much more expensive than it’s reported $1.25 million budget (though some estimates put it as high as $3 million). Adding to the sweep and grandeur is the magnificent orchestral score( with choir ) by Maurizio Abeni (who would also compose for Stivaletti’s THE THREE FACES OF TERROR (I tre volti del terrore,2004 ) . The English dubbing is good ,though some of the dialogue is a bit clunky.

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The original VHS/DVD releases back in 2000 had very muddy colors and a dark print ,and though Dolby mixed the sound was very flat .

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Now One 7 Movies (whose DVD release of JESTER’S SUPPER we reviewed back in 2015 https://www.facebook.com/SCARLETreviews/posts/1584658468439774 ) have released WAX MASK in a glorious 1080p version in 1.85.1 (original aspect ratio) blu ray .The Dolby Digital 5.1 sound really lets the score fill your room ,and the sound effects are quite effective. Most impressive are the truly vibrant and rich colors and the clean almost three dimensional photography by Sergio Salvati (who shot many of Fulci’s as well as many Empire films produced by Charles Band). I cannot say how marvelous the transfer is and it puts many a major studios release to shame.
Extras on the disc includewax-mask-00-jpgcgi
Backstage Scenes– some raw video behind the scene footage shot during the making of the film . It is a fun look at the cast and crew working and relaxing during the production. In Italian.

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Special Effects Scenes– the effects team working on the practical on set effects used throughout the film .At one point they get a package from Tom Savini ,and look through his makeup book GRAND ILLUSIONS(Imagine,1983).Producer Argento watches fascinated as they test a mechanical robot arm . In Italian .

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If you are a fan of Italian Horror, this is a must get disc for you. Many fans may have head of the film but up to now may never have seen it. Now is your chance to scoop this film up.
Recommended!

-Kevin G Shinnick

*- DRACULINA issue 24 appears to be sold out but you can always see if some valuable issues turn up by visiting http://www.draculina.com/draculina2.htmldraculina-24

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2000s, Anita Page, Athena Demos, CAMP, cult, diy filmmaking, dvd, fantasy, film, genre, gore, Horror, independent, killer brain, Nazi, nudity, Randal Malone, review, Ron Ford, SCIENCE FICTION, Stephanie Beaton, thriller, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized, wierd

THE CRAWLING BRAIN

 

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THE CRAWLING BRAIN (2002) released 2016.Blood Banquet Theatre.
$10.99. DVD. Color. Shot on Video. Available from
http://bbtheatre.xyz/collections/1423514-blood-banquet-theatre-distribution-dvd-titles/products/18388604-the-crawling-brain-dvd

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   “Has he health insurance?”Behind the scenes photo

 

If Andy Milligan (GURU THE MAD MONK, Nova Int.,1970) made movies for Independent International that were produced by John Waters, it would give you an idea of the craziness that is THE CRAWLING BRAIN.

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The term “camp” was made for films such as this. The film is a loving if inept tribute to classic b movie camp like THEY SAVED HITLER’S BRAIN (Paragon/Gold key ,1968), BRAIN OF BLOOD(I.I.,1971) MAD DOCTOR OF BLOOD ISLAND(Hemisphere,1968) and most obviously, FIEND WITHOUT A FACE (MGM,1958). Gore and nudity are sprinkled liberally throughout.

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The story has Stefan (Randal Malone) finding out his grandmother is the former nurse/lover of Franz Kindler (the name of the Nazi from Orson Welles classic THE STRANGER(RKO,1946)), a mad Nazi scientist who has his spine and brain placed into a tank until a new body can be found for him.

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        (Young Anita Page Ziegfeld Follies;92 year Ms Page in this film)

 

The grandmother Anita is portrayed by then 92-year-old Anita Page, who starred in the first sound film to win an Academy Award for Best Picture, BROADWAY MELODY (MGM,1929). She passed away in 2008, her last film being released posthumously in 2010, FRANKENSTEIN RISING (Sterling), which also starred Malone.

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The brain suddenly decides to take over Stefan, who manipulates his brother (Mark Shady) into helping him. Every once and awhile the brain crawls from its tank and takes things into its own-err— spinal column, and kills people itself.

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People visit the house end up being used as experiments for surgery, until a new nurse named Jillian (Heather Beaton, EYES OF THE WEREWOLF, Leo Films,1996) arrives to care for Grandma. Jillian, it seems, looks exactly like Anita did when she was young (also played in flashback by Beaton) and it seems once the evil brain finds a new body for itself, Anita may have herself a new host body as well.

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The whole film has a “Hey I got a camcorder, let’s make a movie” feel to it. Shot on video, the entire budget wouldn’t stretch to craft services for one meal on a T.V. show. That said, the film is unlike a lot of s.o.v. product at least competently put together, though the dialogue suffers at times from microphones being too far away.

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Hey there IS a script!

 

Music (credited to Ronald Stein) sounds like it is mostly lifted from DEMENTIA 13(AIP,1963) with certain sounds effects taken directly from FIEND WITHOUT A FACE.

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As to the “acting”, always a major bugaboo of mine in these s.o.v. films:

Randal Malone, who it seems has more than 50 films to his credit, minces through his part like a bitchy Divine wannabee.randal-malone

At the other end of the spectrum we have Stephanie Beaton, who never seemed to get a film that truly showcased her actual acting talent.

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The effects are a fun throwback to the onset physical effects of the films that inspired them (at points reversing the film has the spinal column appear to wrap around its hapless victims).

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(Because You’re Mine, I’ll steal your spine ….)

A well -staged car crash surprised me, although I was left wondering did they just do the stunt and leave?

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               (How dis-arming !)

Indeed, I wish there was a commentary track from those involved, to hear what it was like on set and their thoughts of the final product (and indeed, how they got Anita Page to be in their film).

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Extras are limited to an alternate opening (full nudity as it stands now, topless nudity in the alternate, both supplied by actress Athena Demos) and an alternately edited flashback sequence (which I admit I saw no difference).

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Also included is an over the top trailer that would have put people into their local drive ins had it been made in the 1970s. Finally, there are trailers for other films to be released by BLOOD BANQUET (including DEVILS’ NIGHTMARE(French,1971)).img_20170117_114835
Blood Banquet also sells a 3D version of MANIAC (Roadshow,1934), GRAVE OF THE VAMPIRE (Ent.Pyramid,1972), as well as other S.O.V. titles by Ron Ford.

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Should you wish to see a modern-day exploitation film, leave your brain outside as you watch THE CRAWLING BRAIN.

Trailer.
https://www.youtube.com/watch?v=RMBNzl1tIsc

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Kevin G Shinnick

              (note:some photos courtesy BLOOD BANQUET,some Frame Grabs from the DVD).

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