Arrow Films Review: 5 Dolls for an August Moon (1970, Mario Bava)

  “I'm not a man of thought. I'm a man of action.”

On a beautiful yet secluded island in an equally beautiful pop-art villa, George Stark (Teodoro Corrà, Body Puzzle) and his wife Jill (Edith Meloni, That Little Difference) are playing host to a group of their high-flying friends; Prof. Gerry Farrell (William Berger, Keoma) and his wife Trudy (Ira von Fürstenberg, The Fifth Cord). Jack Davidson (Howard Ross, The New York Ripper) and his wife Peggy (Helena Ronee, On Her Majesty's Secret Service). Nick Cherry (Maurice Poli, Rabid Dogs) and his wife Marie (Edwige Fenech, Strip Nude for Your Killer). Accompanying the well off houseguests are George's houseboy Charles (Mauro Bosco, Roy Colt and Winchester Jack) and the young and innocent Isabel (Ely Galleani, Lizard in a Woman's Skin), a girl in George's care whilst her parents are away. What starts off as a jolly get together soon becomes a tense and all-round torrid affair. Things begin to turn sour when all the husbands become involved in a bitter bidding war for the professor's sought after and revolutionary formula, the formula that drove him to take this little excursion in the first place. Of course, the professor's minor annoyance is nothing compared to fact that affairs of all types are being acted out on. To make matters infinitely worse however, starting with Charles, the houseguests are being picked off one by one. Tensions rise and paranoia kicks in. This is one swinging party that those who may or may not survive will never forget. There's me thinking LSD was a trip!

  Taking influence from Agatha Christie's Ten Little Niggers (a story Bava would make the basis of his highly influential A Bay of Blood a year later.), we find a group coming together and finding themselves in a somewhat quirky whodunnit murder mystery. To some, Bava's Five Dolls for an August Moon is purely an exercise in style over substance. I can sympathise with that viewpoint, the final third of the film does get a little hectic in turns of story and pacing, but I actually think that Mario di Nardo's (Ricco the Mean Machine) story has enough there in terms of plot and narrative structure even if Bava did despise the story and do his own thing. Speaking of which, this IS for me Bava at his most stylish. A beautiful locale combined with stylish (so what if it's dated!?) décor and equally (if not more) beautiful women; there's a lot to digest. The film is lensed by Bava collaborator Antonio Rinaldi (Danger: Diabolik) and is somewhat subtle which allows the loud and vibrant design to take centre stage. There are however, some nicely incorporated handheld shots which work brilliantly with the rest of the film. The icing on the already splendid technicolour cake is Piero Umiliani's (Big Deal on Madonna Street) score. It's a mixture of the dreamlike, groovy and sinister. Not a note is out of place and it helps lift the film even more. Considering that Bava was working with a script he disliked, working with a limited budget and had a shooting schedule of just over two weeks, it's amazing what he has achieved here. It might not be a classic example of the gialli, but it still has some characteristics that we associate with the genre. There's stylishly executed kills, red herrings, a sense of tension and a good amount of twists. To me, it's more than just one of my favourite Bava films; it's one of my favourites of the genre.

In terms of presentation, Arrow have done a good job with the sound and picture. I don't have the previous Kino Lorber release to make comparisons, but it seems like it's a slight upgrade of an already good restoration. Aside from the odd scratch and pop, the film looks and sounds great. In terms of audio options, there's both the Italian and English dub, with the Italian dub being the superior. There's also an option to listen to an isolated score and effects track, a feature ported over from the Kino Lorber release. Speaking of which, Tim Lucas's commentary is also included. As well as that there's a trailer, English language opening titles and the fantastic Mario Bava: Maestro of the Macabre documentary. To go with the on disc extras there's newly commissioned art from Graham Humphreys complimented with the original poster artwork and a booklet including writings from Adrian Smith and Glenn Kenny. Overall, this is worthy release for a somewhat under-appreciated Bava outing. An essential release from Arrow for new and old fans a like. Plus, who doesn't want to see the beautiful Edwige Fenech shaking her thing?

5 Dolls for an August Moon is available as a DVD / Blu-Ray combo release from Arrow Films.

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Severin Review: Vampyros Lesbos (1970, dir: Jess Franco)

VAMPYROS LESBOS
(1970, dir: Jess Franco)“Psycho-Sexadelic Horror Freakout!”

Young lawyer Linda (Ewa Strömberg, She Killed in Ecstasy) is haunted by an erotic recurring dream involving herself and her lover Omar (Andrea Montchal, Eugenie de Sade). The dream involves herself and Omar enjoying a stage show involving a young and beautiful seductress (Soledad Miranda, Count Dracula). After the show, Linda is beckoned, seduced and killed by the mysterious nubile. Her therapist, Dr. Seward (Dennis Price, Son of Dracula) seems to think that the recurring dream is down to Linda needing a new sexual partner. Fair enough! Unfortunately, there's no time for that as Linda is assigned to visit a woman by the name of Countess Nadine Carody, who has recently inherited property from none other than Count Dracula! Once she has arrived and settled in, it's on to business. Before she can get the Countess's signature and realise who she's dealing with, she is drugged, seduced and then bitten by the bloodthirsty Countess. As if it wasn't bad enough, Linda then finds herself with a case of amnesia and under the care of Dr. Steiner (Paul Muller, Lady Frankenstein). It's her lucky day however, as Steiner is more than just a doctor, he's also a vampire hunter. With the help of the doctor and Omar, Linda must put an end to Countess Carody's bloodthirsty reign. It's not going to be easy, but it sure is going to be bloody!

 
Where do you start with a film like Vampyros Lesbos? Jess Franco is one of my all time favourite directors and even though I find his back catalogue to be very hit and miss (with a filmography that size, it's understandable), I can safely say I enjoyed this greatly. Right off the bat, you can tell this is a Franco film. From the cinematography to the way the action is staged and played out. Some may find his overuse of the zoom to be annoying and the snobs out there will turn the nose up at the occasional out of focus shot, but these tiny things all play in to my compassion for Jess Franco. There's some absolutely gorgeous locations used here and the set design as well as the costumes are second to none. As cheaply made as this film is, Jess definitely has a good eye for style and working around budget constraints. You sometimes find yourself scratching your head when trying to follow the plot of a Franco film, but Franco with the help of Jaime Chávarri (To an Unknown God) and Anne Settimó (Jungle of Fear) have scribed a cohesive, yet abstract enough to stand out feminine retelling of Bram Stoker's Dracula, even if Chávarri now distances himself from the film. There's a real sense of atmosphere throughout that often makes the film feel almost dreamlike. The score from Sigi Schwab (The Devil Came From Akasava) and Manfred Hübler (Intercontinental Express) adds to that dreamlike atmosphere, but also ranges from haunting to out right funky. It's up there with one of Franco's best film scores and worth looking in to if you like jazz. The star of the show (both literally and metaphorically) is the Countess herself, Soledad Miranda. All she has to do is look directly in to the camera and the audience is eating out of her hands. Her performance is subtle, yet effective and fundamentally sensual. Right from the first few seconds where she is beckoning the viewer. This is her film. Don't get me wrong, everyone else puts in a good turn for the most part, even Franco himself appears as a somewhat mentally challenged and sleazy island local with his own secret, but the focus is on Miranda, even if this may not be her most demanding role. It's clear that if she hadn't had met her untimely demise, she would have made even greater waves in the film industry. Of course, those looking for bare flesh and blood will be very happy I'm sure as there is a good amount of that thrown in too. That being said, this is more classy than pure schlock or sleaze. A perfect film for the turtleneck wearing Franco fan!

  In terms of sound and picture quality, the film has been beautifully restored and presented here. Of course, being that this is a Franco film and the source material may have not been preserved at the most optimal of levels, there are some focus issues and the sound can get a bit questionable, it shouldn't be an issue at all. Those wanting special features will be very happy in my opinion. There's an interview with Franco himself talking about the film, his relationship with producer Artur Brauner and of course Soledad. Is it just me or is it like watching your granddad telling you stories when you watch a Franco interview? Sticking with Soledad, there's an interview with Amy Brown, founder of the official Soledad Miranda website, that goes in to the life, career and death of Soledad. The final major feature is an interview with Franco scholar Stephen Thrower which gives a bit more insight in to the film. Not only that, but we also get an extra clip of Franco talking about his experience with Stuart Freeborn (Star Wars: Episode IV – A New Hope)
and his true inspiration behind the look of Yoda, original German opening title sequence and of course, the German trailer. As if that weren’t enough, the film is packaged up with some gorgeous newly-commissioned art from Wes Benscoter. All in all, this is a must own for UK lovers of Jess Franco, Soledad Miranda and of course; Vampyros Lesbos. This would also make a great starting point for newcomers!

Vampyros Lesbos is available on DVD & Blu-Ray from Severin.
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Vinegar Syndrome Review: Crypt of the Living Dead (1973) / House of the Living Dead (1974)

CRYPT OF THE LIVING DEAD
(1973, dir: Julio Salvador & Ray Danton)
“THE UNDEAD DIES...AGAIN, AGAIN AND AGAIN!"

One night whilst snooping round a luxurios island villa, archaeologist Professor Bolton (Mariano García Rey, Shaft in Africa) is attacked by crazed writer Peter (Mark Damon, Black Sabbath). Bolton is left for dead under a tomb. When his son Chris (Andrew Pine, The Town That Dreaded Sundown) finds out about the fate of his father, he visits the island to say his goodbyes. He is greeted by Peter who is playing the nice guy card. Once settled and with the help of the mysterious locals, Chris and Peter begin to open the tomb belonging to Hannah (Teresa Gimpera, Lips of Blood), who according to local folklore was the vampiric wife of Louis VII. Once opened, they discover the still fresh corpse of Hannah (who looks damn good considering she's been buried for 700 years!). Naturally, she is awakened and begins to wreak bloody havoc on the island and its inhabitants. Initially unconvinced, Chris has only but a couple of days to put a stop to Hannah and the rise of Vampire Island, but with Peter falling ever more under the influence of Hannah, the locals who are either terrified or not what they seem and the blossoming romance with Peter's sister Mary (Patty Shepard, My Dear Killer), it won't be easy!

  I don't really like vampire films that much if I'm honest. Of course films like The Vampire Lovers, Twins of Evil and Lust for a Vampire are exceptions (yeah, I'm a sucker for busty vampires in flimsy white gowns). So naturally I was a little apprehensive about this one. Thankfully, I was an idiot and this was a more than entertaining early 70's vampire effort. Crypt of the Living Dead is a film that is full of atmosphere. The combination of the misty Turkish setting and and a haunting score from Phillip Lambro (Blood Voyage) really add to the genuine creepyness throughout. The story is solid enough and plays out well at a steady enough pace. Not only that, but the performances from those playing the locals do a great job adding a sense of almost isolation for the audience. The main cast also do a atisfying job, even if Andrew Pine kinda looked like John Holmes! Those looking for eye candy will enjoy Gimpera's portrayal as Hannah, it's just a shame she's not in the film as much as she should be. The film also has some nice effects throughout. It's a satisfying enough time waster that can be watched more than once.

HOUSE OF THE LIVING DEAD
(1974, dir: Ray Austin)
“What monstrous evil lurks...and feeds...and kills...in the attic of the...HOUSE OF THE LIVING DEAD ”

On a seemingly normal plantation in South Africa, owned by the wealthy Brattling Family, there is something sinister going on behind closed doors. Dr. Breckinridge Brattling (Mark Burns, Ludwig II) is a reclusive and mysterious fellow who locks himself up in the attic to conduct experiments on the local wildlife. His mission? To harvest the souls of the living! Understandably, his brother Michael (Burns in a dual role) and stern mother (Margaret Inglis, Space 1999) do not approve, but can't do anything because they adore their little mad scientist. As if his experiments weren’t sinister enough, Breckeridge begins to use the locals and house staff to achieve his goal. With Michael's soon to be wife Mary (Shirley Anne Field, Alfie) visiting, much to the displeasure of Mummy Brattling, along with the former teacher of Breckinridge, there's potential for a major disaster that the Brattling family just can't have. It's a disaster that could change the bloodline forever. It doesn't help that the locals like to dabble in the dark arts of voodoo!

With all that going on, you'd expect this to be a mind blowing bloodfest right? Well, not really. The film is lacklustre and nowhere near approaches the creepiness of Crypt of the Living Dead. That being said, it's nothing awful. Those expecting to see lots of vile experiments will be sorely disappointed, aside from some uncomfortable scenes involving a monkey, there's really no gore or nastiness. If you want a chuckle however, pretty much all the cast speak with well spoken British accents (yes, even the natives). It adds an often surreal and ultimately unintentional level of charm to the film. The story plods along and some may mistake this for a period melodrama. There are a couple of nice twists and turns, but it's nothing you haven't seen before. All in all, the film is a rather pedestrian attempt at gothic horror. By the way, the film has probably got one of the most misleading titles ever.

 Overall, this is a neat little package. Crypt is the best film of the film by far and has the most replay value. Both films are presented wonderfully, especially considering that they're public domain titles that have suffered from repeated, battered releases throughout the years. There is some fun to be had and you're in for a fun double feature, you may want to get House out of the way first. In terms of special features there is a trailer and alternative title credits for Crypt. All in all, Vinegar Syndrome have done a more than competent job with this release. Solid transfer with a couple of nice special features and some absolutely gorgeous artwork on the release. Definitely worth a look for fans and newcomers alike.

Crypt of the Living Dead & House of the Living Dead are available in a DVD / Blu-Ray combo pack.

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Vinegar Syndrome Peekarama Review: Anticipation (1981) / Flesh Pond (1982)

ANTICIPATION
(1981, dir: Carlos Tobalina)

“Beyond Temptation...”

  Joyce (Sheila Parks, Casanova II) and Jerry (Jesse Adams, Deep Rub) are newlyweds who, after some mind numbingly awkward conversation, make love for the first time. After breaking in the cheap motel bed (how romantic!), the pair talk about Jerry's brother Steve (Joey Silvera, Carnal Haven), who apparently had problems with his parents when he announced that he was marrying a girl with a reputation by the name of Wendy (Karo Akamoto in her only role). We also find out that he is set to be released from prison for accidentally killing (or so he thought, just watch, it makes sense) the lover of his cheating wife. Once released, the brothers are reunited and introduced to their new sisters-in-law. Whilst on a trip to what looks like the coldest beach ever, Joyce and Steve begin to have forbidden thoughts for each other. Actually, so does Jerry and Wendy! After some awkwardly narrated daydreaming from everyone involved, Jerry and Steve confide in each other and their mother that they love other women. Before they can act on it, they get invited to Serena's party (seemingly playing herself, Pleasure Palace). Will their secrets be revealed? It's sure going to get messy!

  I'm just going to say it. This is possibly one of the dullest Tobalina flicks I have watched to date. The concept is great and has so much potential, but Lawrence Lance's (thankfully his only writing credit) handling of the script is uninspired and clearly rushed. To say it's paper thin is an offence to the trees that were sacrificed in order to make the napkin this tripe was written on. I won't even comment on how iff target the humour is. The only real entertainment to be had with Anticipation is the slightly worse than usual acting throughout. Not even Joey Silvera, a performer who can act, seems to be giving his all. There's some fairly standard sex throughout and yes, there's the usual orgy which goes on for way too long. There are actual instant replays in the final sex scenes that add an odd charm to the film. Look out for some very awkward, bordering on incest action at the end of the film. The only genuine quality the film has is the music selection which I believe is comprised of original music by Jay Rando (Interlude of Lust) and library tracks selected by Matt Webber (his only credited role). That being said, as much as I love great library music, not even the dirty funky bass lines can save this ultimately forgettable Tobalina quickie.

FLESH POND
(1982, dir: Carlos Tobalina)

“Consumed by pools of passion...”

Paco (Hermon Tobalina in his only role) and his unnamed friend (Reggie Gunn, Lips) have just escaped from prison. They stumble upon a quint little brothel ran by a woman named Drea (Drea, Hot Buns) and decide to hold herself and her patrons hostage. Not only that, but they demand to be entertained whilst they work their next move. Festivities begin when Rita Ricardo (as herself, My Sinful Life) has some fun with her doll companion Johnny Rubber. After that kinky warm up, the action really begins with good old Tobalina fashioned group action, under the firm dictation of the increasingly frustrated Paco. Things are going great (I guess) until Paco's friend gets caught in the crossfire, if you know what I mean? After A LOT of group bonding, Paco is forced to tell of his story to the group thanks to the persistent interest of one of the patrons, a magazine publisher (William Margold, Dracula Sucks). The convicts claim that they have been framed, to the mixed reaction of their captive audience. What's in store for the potentially innocent escapees? Will everyone come out of this situation alive? You know what? It may not be worth it.

I said that Anticipation was one of Tobalina's dullest. Well, this one has just taken that crown. Yes, this was quite frankly awful. Just like Anticipation, there is so much room for creativity. How can you mess up a scenario like this so badly!? You may find this one very hard to keep up with, not because of the complexity of the story, far from it! Everyone looks bored in this production. For such a hostile situation, everyone seems completely indifferent. I won't lie, I had my finger on the fast forward button a lot. This is essentially one continuous group scene with some lazily added 'plot' sequences and recycling of footage. Yeah, this film is more than forgetful. If it wasn't for one or two creative pieces of cinematography from Tobalina himself, the unfortunate money shot and library music, this would have been potentially the worst piece of golden age action I have seen. To Tobalina's credit though, he knows how to sell a film and is quite frugal overall. I bet he made his money back easily on this one, shame it's such a piece of crap.

This is probably the weakest Vinegar Syndrome release I have reviewed so far. I have a love / hate relationship with the films of Carlos Tobalina and these two films perfectly demonstrate why I can hate his work. It's such a shame because these are great initial premises and there are versatile themes throughout. It's just so uninspired in terms of execution. There's only really enjoyment for those looking for unintended laughs, but that's no real saving grace. Vinegar Syndrome are my favourite distribution company. Even though I found the films genuinely awful, I have no negative words to say about Vinegar Syndrome at all in terms of this release. They have dedicated a lot of time and resources releasing the filmography of Carlos Tobalina. Not every film can be a classic, it just appears that by chance, two of his weakest appear here. In terms of presentation, it's another great job with only minor defects. It doesn't help that these films were shot so badly. In terms of extras, we get theatrical trailers for both films. That I definitely approve of! Overall, this release is only really for completests and hardcore fans of Carlos Tobalina. If you're not too familiar with Tobalina's work, give this one a pass for now.

Anticipation and Flesh Pond are available as a double feature DVD from Vinegar Syndrome.

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Vinegar Syndrome Peekarama Review: Fast Cars Fast Women (1981) / Starship Eros (1979)

FAST CARS FAST WOMEN
(1981, dir: Scott McHaley)

“With Every Lap She Will Shift Your Gears!!!”

Our film opens up with a cute little blonde named Kristy, played by Sylvia Benedict (The Bitch Goddess), getting pulled over by a cop. Even though she is more than willing to 'cooperate' with the officer, she still gets the ticket! No need to worry though, she's on her way straight away because she has an appointment with the feisty Molly, head of the Davis Racing Team, played by Kay Parker (Sexworld). Before that however, she has some catching up with her old room-mate Casey, played by Carolyn Jackson (Anytime Anyplace). I think you know what I mean by 'catching up'. As they are busy being reacquainted, we meet Molly's rival. He's a sleazy piece of work named Orson, played by Al Chiurrizi (in his only starring role). His second in command is Dutch, played by Ron Jeremy (Orgazmo). He too is a sleazy piece of shit, but with added moustache! Dutch wants to buy Molly out, but she is one tough cookie. So much so, that even the blatant tampering of her cars (which lead to a fatality) won't make her succumb to his harassment. That's one hell of a woman right there! Anyway, once Kristy has met with Molly and has been warned about the potential dangers, she's on the team straight away and ready for action. Before we get to see any racing action, there's a hell of a lot 'team bonding'. Enough to make even the likes of Bernie Eccleston blush! Once we do get to the tracks, Kristy sure shows us that she knows her way around a gear stick. Will her new career take off? Will she be Dutch's next victim? Can she be bought!? Well, you're going to have to buckle yourself in and find out for yourself!

Fast Cars Fast Women is a very enjoyable piece of film. There's a great story there that has depth and is somewhat original. The acting isn't the greatest, but the likes of Ron Jeremy and Kay Parker more than make up for that. The female cast throughout (PATRIARCHY WARNING!) are very pleasing on the eye, but not only that, they are all strong characters. The racing action is well done, but is taken down a gear compared to the 'off road' action. Speaking of which, the hardcore elements of this entry are all solid and if you like a bit of lady love, there's enough here to shake a stick at. It's always a good thing seeing Kay Parker on screen! Aesthetically, this film is very competent. There's a great use of an actual racetrack and some of the cars on display are just as nice to look at as the female cast. It's shot well and stock footage is incorporated somewhat seamlessly, we are nowhere near Mattei territory in that regard! For those looking for some good laughs, there's some really spot on humour throughout. There's even a nice amount of fighting in the film. It's clear this was directed by a stuntman! All in all a solid effort that has something for everyone!

STARSHIP EROS
(1979, dir: Scott McHaley)
“A probing of sensual space...”

We are thrown in to the future. 1995 to be exact! We join the all female crew of the Feminist Regime Starship Eros headed by big haired Commander Venus, played by Lily Rogers (Indecent Exposure). Her crew consist of the cute and sex starved newcomer, Executive Officer Moon, played by Becky Savage (Sexloose), the nearly as cute Communications Officer Bev, played by Beth Evans (in her only starring role) and their part human / part not quite C-3PO robot assistant Quasar, played by Mike Ranger (Taboo). The new Executive Officer makes quite an 'impression' on her new colleagues. Even good ol' Quasar gets to experience her credentials hands on, even if there are the occasional wiring problems (robots can suffer too!). After the usual greetings, the team embark on their Search and Destroy mission, involving a ship piloted by raging lesbian Amazoids! Even with such an important mission ahead of her, Moon can't help but make the most of her new robotic companion, so much so that this leads to a punishment (I think) at the hands of Commander Venus. It makes Princess Lea's enslavement look like child's play... Ok, maybe not! After her punishment, the crew manage to track the damaged (oh, there was an uneventful dogfight by the way) Amazoid ship to a nearby planet. Before the crew of Starship Eros have chance to land, they manage to beam up Megan, the Amazoid captain from the ship before it explodes. Naturally, they interrogate her and show her what a man is like (poor Quasar, you'll know when you see Megan!). Yep, more 'torture' ensues! Oh well, at least Quasar's wiring problem gets sorted out and hey! Megan becomes a new member of the crew! Not even Star Trek showed us this much unity!

All in all, Starship Eros is an entertaining piece of hardcore sci-fi that is blatantly (some may say poorly) cashing in on the Star Wars and Star Trek boom of the time. McHaley has written and directed a fairly solid, if not obscenely simple story that plays second fiddle to the hardcore elements directed by producer Wesley Emmerson (Foreplay). That being said, it's clear that the story wasn't just thumbed in after hard scenes were shot. The sex, although seemingly dominating the runtime, work well within the film and are done to a high standard. If you have ever wanted to see a glorified C-3PO halloween costume getting down, you're gonna get a laugh from the scenes he stars in. Personally, I could have done with more Quasar, but oh well. Arguably the stars of the show are actually the special effects and miniatures created by McHaley and K.M. Kemper. Although crude and nowhere near as good as what we would see from the likes of Star Trek and Star Wars, they do add a level of scope to the film and add production value. The aesthetic elements of the film as a whole are impressive and are captured nicely by Pablo Lepell's (Weekend Fantasies) cinematography. All of the charm can be found within those elements. The score (I'm guessing a collection of library tracks) is the icing on the cake. As far as low budget (the film was shot within a few days in a basement) hardcore sci-fi goes, this is an enjoyable and competent enough effort. Not bad for a directorial debut from a stuntman!

Overall, both films are presented wonderfully. Aside from a few dips in picture and sound quality at times, there's nothing to complain about Vinegar Syndrome's 2k restoration. Both films are stylish in their own ways and the retoration really shows how nice these relatively low budget efforts are. Once again, for a stuntman, these are two interesting and entertaining films. In terms of special features you get the trailer and additional softcore scenes for Fast Cars Fast Women and a brief audio introduction for Starship Eros from producer Wesley Emmerson. This is definitely a unique release that showcases two films from a director whose career behind the camera was short. From both a historical and entertainment standpoint, this is a really solid release!


The DVD double feature is available from Vinegar Syndrome here, as well as your favourite online retailers.

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Vinegar Syndrome Peekarama Review: Little Sisters (1972) / Powder Burns (1971)

LITTLE SISTERS
(1972, dir: Alex deRenzy)

"The maker of Censorship in Denmark & History of the Blue Movie has reached a new plateau in adult films."

As you can see, there is no written review for Little Sisters. I have however, recorded an episode of Mondo Squallido looking at the film. Find out what I think of it by clicking this lovely video:

POWDER BURNS
(1971, dir: Alex deRenzy)

"OUTLAW MEN - WILD WOMEN"

  After a montage of the vastness of the desert (we're nearly in Herzogian territory here!) we are thrown balls deep in to a small shoot out. Yep, welcome to the Old West! Well, not exactly! Aside from cowboys, horses and fitting music, we also have chaps wearing aviator shades and scrapped cars laying about. The year is actually 1969 and we're in the small town of Sewer Pipe Creek. The local sheriff (and barkeep) is having a spot of trouble with the pesky McNasty Brothers, a trio of brothers who like to cause chaos in the town for a couple of weeks once a year. Our hero runs the scum out of town and as a result, his saloon girls aren't too happy because although a troublesome threesome, they spend more money in the town in two weeks they are gallivanting than the locals do in a whole month. Cut to a year a later and we see the now former sheriff pondering on his career and life as he knows it. After trying to unsuccessfully woo his only remaining saloon girl, a new face appears in town. A young and curvy blonde go-go dancer nicknamed “The Golden Dream”. She struts her stuff (and what a lovely pair they are!) for the barkeep and his pals. She is an instant hit, sparking the barkeep to dream of the business opportunities his new dancer can bring to town. As he's drooling over his new busty business venture, the McNasty Brothers are padding out the run time by slowly (I mean VERY slowly) roaming the desert and causing yet more mischief. They eventually return to Sewer Pipe Creek. Will history repeat itself? Well, after some innocent enough drinking and frolicking with the new dancers (that was quick barkeep!), a fight breaks out between the brothers and a couple of locals, resulting in another shootout in which all those involved are killed (even though you can clearly see them still breathing) leaving the girls to rob the corpses! Yep, your guess is as good as mine?

 

What can I say about Powder Burns? Not that much actually. What we have here is an ultimately unforgettable film. A clumsily staged and acted outing that has more unintentional entertainment that intentional. Don't get me wrong, the comedy element works with some genuinely funny dialogue from our sheriff / barkeep. There's some nice talent on show too. Unfortunately, none of the girls are really credited, which is a shame because even though the film lacks in terms of story (an almost porn take on Samuel Fuller's Forty Guns if you will), acting and visually appealing technical elements (with the exception of the occasionally interesting use of handheld cinematography), the girls are very nice indeed and I want to see more! There are some rather odd elements too, including an extended and sped up sequence of people drinking at the bar. I have no idea why that's included, but it is and I suppose it adds to the charm (if a deRenzy film can be charming!) of the film. It's inoffensive enough, but I could see some people having major problems with some of the out of place and odd sequences. If you're here for the porn element, you may also be disappointed as the small amount of actual sex is clumped together within the final third. Yep, this is an unconventional (just like a deRenzy film should be) piece of early porno to say the least. I didn't hate the film at all, I was just expecting much more. I mean, it's Alex deRenzy making a meta western porno! It should have been more entertaining than it was.

Overall, Little Sisters is the better of the two films. Powder Burns just completely pales in comparison. That being said, how can I be too harsh when we are presented with two of deRenzy's earlier works on one disc? It's great that we are getting his work on legitimate disc in the first place! Both films are quirky and unconventional in their own way so folks looking for a different adult experience should give these a try. If you are a fan of deRenzy, chances are you already own this release. If you want a fun experience, then this is a nice double feature that is sure to go down a treat at a drunken gathering! Both films are presented in their original aspect ratio and have been cleaned up as best as possible by Vinegar Syndrome. There is clear print and sound damage, but you have to remember that chances are the original prints were probably not in the best shape. The bottom line is this is the best presentation of these films we will ever get. There are no special features on the disc, but like I said, these are two early deRenzy films so we should be thankful we have them widely available. Let's not forget that the Peekarama series is always brilliantly priced, so you are definitely getting your money's worth. This is a must own release and I look forward to what deRenzy treats we will get from Vinegar Syndrome in the future!

The Little Sisters and Powder Burns double feature is available from Vinegar Syndrome here as well as your favourite online retailers.

Weisse Haut auf schwarzen Schenkeln (1976, dir: Jess Franco) Ascot Elite / Illusions UNLTD Blu-Ray Review

The film opens up on the Mondo Erotico set. You know, the obscenely small and narrow black room with the white fluffy bed. It's here we meet Marga, an exotic erotic dancer played by Diotta Fatou (DIE SKLAVINNEN). She's in the middle of one of her stage shows. In the audience we meet Robert, a wealthy middle-aged man played by Roman Huber (DAS FRAUENHAUS). He enjoys the show so much that when Marga has finished her little dance, he decides to take her back to somewhere private. The pair get down to business and instead of enjoying that wonderful post sex cigarette, Marga does the next best thing and throws herself out of the window. Yep, bitches be crazy! The next day Robert is arrested for the attempted murder and it's down to his wife Lola, played by Pilar Coll (MONDO EROTICO), to prove his innocence. She does this by tracking down the nightclub and meeting the owner and Marga's lover Lena, played by Kali Hansa (COUNTESS PERVERSE). Lena seduces Lola and takes her back to her place. The pair eventually make love and form a relationship. Lola hasn't given up her quest yet however? She loves and adores her pig husband. Lena finds a diary belonging to Marga and reads it to Lena. We find out about the rather depressing and troubled life of Marta, including her relationship with Victor, a sleazy and manipulative psychologist / hypnotist type played by Franco's go to hunk, Erik Falk (ILSA THE MAD BUTCHER). Will the diary hold the answer to this strange situation? Will Robert be set free? What dark secrets will be revealed?

Overall, I'm sorry to say that this was a rather dull film. Although a solid enough story, there's nothing really engaging at all with this one. There are some nice moments every now and then including a rather unnerving S&M dream sequence and a genuinely funny off-screen appearance from a man from Mars (you have to watch to truly understand). Those moments are completely overshadowed by long, drawn out attempts at eroticism and clumsy erotic dancing (you may get a laugh out of those scenes). Fatou has no onscreen presence at all and it pretty much looks like she had no clue what she was doing except receiving a paycheck. The scenes involving Falk, although largely unrelated to the actual story are the highlights of the film just for the sheer absurdity. Aesthetically, this rather unimpressive. Lazy set design (clearly utilising not even a handful of locations) and horrendously out of focus cinematography make this is a visually unappealing film. Not even the female cast can make up for that because aside from Coll, there's literally no talent on show that's pleasing on the eye. Sure, that's probably a pig-headed thing to say, but even though this essentially a melodrama, Franco is still trying to titillate the audience with his signature close up shots and taste for good old-fashioned lesbianism. It misses the mark completely as a piece of erotica and drama. As much as I love Jess Franco (even for his downfalls), I really have to chalk this down as one of his worst. It's little wonder that Dietrich has now finally credited the film back to Franco.

The restoration is hit and miss. Some scenes look fantastic, but a lot the blacks in the film (especially the nightclub setting) can be very blocky with clear distortion. This is a cheap film anyway, so I won't whine too much. The sound is fairly solid throughout so that's not an issue. I would say that if you're going to pick this film up, don't be worried about HAVING to buy this on Blu-Ray because the film doesn't benefit from it too much. If you can save yourself a bit money, opt for the DVD release. On the disc itself the only language options available are a German dub (presented in both DTS-HD 5.1 and Dolby Digital 2.0) and English subtitles. In terms of extras you a selection of trailers including the original theatrical trailer for the film, a photo gallery, Jess Franco audio interview (Spanish with German subtitles) and the same Erik Falk featurette that appears on Mondo Erotico's release. Overall, as much as I didn't really enjoy the film, I have to give major credit to both Ascot Elite and Illusions UNLTD for presenting the die-hard Francophiles a little-seen gem that was initially credited to producer Erwin C. Dietrich. That's the only demographic I can really recommend this film and release to. Newcomers to the world of Jess Franco will be majorly unimpressed.

Weisse Haut auf schwarzen Schenkeln is available on DVD and Blu-Ray from Ascot Elite Home Entertainment and Illusions UNLTD.

6 Schwedinnen hinter Gittern (1980, dir: Ann Perry) Illusions UNLTD Blu-Ray Review

 Candide Royalle (Ultra Flesh) stars as Lolita Wanamaker, a young and attractive woman recently sentenced to a few years in prison. She immediately makes a good first impression. Neither the prison guards or her fellow inmates can't take their hands off her. The inmates are a close-knit group who go by the name of 'The Beavers'. When they aren't getting it on with each other, they're having their own fun with the prison staff. Seems like it's more of a holiday camp than a prison right? Wrong! You see, the girls have to live in squalid conditions and they've had enough! They do what all disgruntled prisoners usually do and sign a petition? Unfortunately for them, Warden Blowhard, played by Ian McGregor (Undercovers) is a tight-fisted and selfish chap. When he isn't being an arrogant prick, he's getting some extra service off his lovely secretary Miss Cole, played by Lisa De Leeuw (Center Spread Girls). After having a small riot, the inmates get a chance to have their voices heard properly, by having a baseball match with the prison guards who call themselves 'The Dicks'. Will the girls get their own way? Will the warden have a change of heart? You'll have to find out for yourself!

Overall, 6 Schwedinnen hinter Gittern (known to most as Ballgame) is light-hearted Women in Prison flick with a simple premise. Aside from some of the talent on show, this is a pretty uneventful film. The comedy is hokey and feels dated for even for when the film was produced. The likes of Candid Royalle, Herschel Savage (Debbie Does Dallas) and Tawny Pearl (Taboo) are really the only memorable aspects of the film. Not even the sex really held my interest. That being said, this film does have quite possibly the hottest training montage sequences I have seen in a long time (combining squat exercises with face sitting is something I want to see more!). I do also have to give props to the selection of library music used throughout. There are some fun and genuinely great songs for those who like that sort of thing (I certainly do!). Yeah, in terms of a Women in Prison film, it doesn't really deliver. As a piece of pornography, it's pretty hit and miss. Aside from the typical lesbian scenes, you may find yourself fast forwarding a few times. The film could have been trimmed down about 10 minutes to make it a 60 minute feature. Some may appreciate the film more than I did and I certainly know a lot of people who will love this.

Unfortunately, the Blu-ray transfer isn't fantastic. The picture is quite grainy and doesn't actually look like it's a Blu-Ray you are watching. To go with that, the English language track (the version I watched) is very muddy in places and a buzzing sound can be heard quite a lot throughout. That being said, the film also comes with a much superior German language track and English subtitles so that's not a problem. This is however a much better presentation than the Caballero disc so get rid of that one and buy this if you want to see this film. In terms of special features you get a trailer for the film, a photo gallery and a selection of other trailers (some great viewing there). Overall, it's a pretty standard release, but definitely worth looking in to if you are a fan of the genre. Just take in to account that you may be better off buying the DVD version of the film. Either way, hats off to Illusions UNTLD for presenting this film in an affordable way.

6 Schwedinnen hinter Gittern is available on DVD and Blu-Ray from Illusions UNLTD.

Vinegar Syndrome Review: Bijou (1972)

BIJOU 

(dir. Wakefield Poole, 1972)

On his way home after a long day at work, a construction worker (Ronnie Shark) witness a young woman (Cassandra Hart) being hit by a car. Of course, being the gentleman that he his, our brave hero is there to help a lending hand. Well, I should say thieving hand. He steals the young woman’s purse and makes it back to his apartment. Obviously shaken by what he has just witnessed, he decides to get a load off (no pun intended) his mind and have a little bit of rub and tug to the music of Led Zeppelin (you know, mood music), he takes it in to the shower but starts to get images in his head of the woman and abruptly stops (fair play). He notices a flyer for a club called Bijou in the woman’s purse and decides to hit the place up to help take his mind off things. When he arrives all is not as it seems and things get a little strange from here on in.

Bijou is the follow up to the hugely successful Boys in the Sand. This time however, we have something more of a hallucinogenic acid trip. What we witness within the Bijou nightclub is a series of highly erotic and often surreal sexual acts. It’s not for everyone, not just for the fact that this is a gay porn film. If you don’t like experimental film, you will most certainly not like this at all. Wakefield’s use of both contemporary and classical music is once again second to none, no matter what your sexual preference or opinions on the sexual content, you can’t deny that Poole is a true artist and visionary. The sets are simple, essentially blacked out spaces (Poole’s own apartment) with minimal use of theatre style lighting, but work brilliantly for what you are seeing unfold on the screen. His use of mirrors and smoke machine certainly add to the affect. In my honest opinion, this is a very tough film to review. From a simple viewpoint, this is a great example of the underground and experimental cinema of the time. However, if you look more closely after repeat viewings, there is a lot that can be potentially dissected, especially in terms of the “psychosexual puzzle” as stated within the synopsis of the DVD. One thing is for certain, this is definitely a film (as Poole himself intended) that will affect people in different ways.

Just like Vinegar Syndrome’s release of Boys in the Sand, you get a healthy amount of special features. There is an audio commentary and video introduction with Wakefield Poole. As well as a vintage interview with himself and an interview with author Linda Williams. Not only that, but you get original audition footage and of course, a trailer. Do I really need to tell you how much of a good job this release is? It’s safe to say that Vinegar Syndrome’s restoration is once again top notch and the overall package is a great thing. If you are a fan of Wakefield’s work or this film in general, you must go out and buy it. If you’re looking for an interesting experience no matter what your tastes or sexual preferences, this is also a release worth owning.

You can read my review for Vinegar Syndrome's release of Boys in the Sand here. Bijou is available to buy directly from Vinegar Syndrome here as well as your favourite online retailers.

Vinegar Syndrome Website

Vinegar Syndrome Youtube

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Ascot Elite Jess Franco Golden Goya Collection DVD Review: Downtown

DOWNTOWN - DIE NACKTEN PUPPEN DER UNTERWELT

(dir. Jess Franco, 1975)

Jess Franco (99 WOMEN, VAMPYROS LESBOS) stars as Al Pereia, a private detective who is down on his luck and waiting for that next big job. Thankfully for him, he gets a job from a glamorous young woman by the name of Cynthia, played by the ever lovely Lina Romay (FEMALE VAMPIRE, LORNA THE EXORCIST). She wants him to photograph her husband Carlos Rivas, a nightclub owner played by Erik Falk (BARBED WIRE DOLLS, SEXY SISTERS) who has an eye for the ladies. Good old Al accepts and begins his newest assignment. Unfortunately, things get a little complicated when Carlos is found dead. Al becomes the prime suspect and on his quest to clear his name, discovers that Cynthia isn’t actually the wife of Carlos. It turns out that she and her lover Lola played by Martine Stedil (WOMEN BEHIND BARS, SWEDISH NYMPHO SLAVES) are working for Carlos’s real wife Olga, played by Monica Swinn (LOVE CAMP, EAST OF BERLIN). Will the police believe Al? Who killed Carlos Rivas? How many close ups of female genitalia will we have the joy of seeing? Well, it’s a Franco film so that last question should be easily answered. As for the others, you’re just going to have to watch aren’t you?

Downtown is a nice gem within Franco’s vast filmography. Once again he shows that he is a man of many talents by directing, writing, shooting and starring in the film. Overall, it’s an enjoyable outing with a solid story that has some nice twists throughout. Not only that, but the comedic aspects of the film work very well too. Of course, being a Franco film, there are moments that are somewhat clumsy, but it all adds to the overall charm and although not one of Franco's more classier efforts, the score from the Swiss composer Walter Baumgartner (ROLLS-ROYCE BABY, JACK THE RIPPER) is toe tappingly wonderful in places. Lina Romay is fabulous as ever, her scenes with scissor sister Martine Stedil are sexy, yet awkward at the same time, which makes for a positive all in its own (some of their dialogue is priceless).Even Franco gets in on the act with the ladies, it’s a tough job being a director sometimes! If you are looking for a lesser known, but competent Franco film, this is a great one to try. If you are a fan of Jess Franco, you already own this right?

Ascot Elite have done a great job with this release. Going of the DVD version, the transfer is as nice as we will probably get of this film so if you are a Bluray collector, you’re in for a treat with this one. The film is presented in German with English subtitles. In terms of extras you are treated to a photo gallery which has some fantastic shots and a selection of trailers from Ascot Elite’s Jess Franco Goya collection. It’s humble, but at least it’s something. Overall, Ascot Elite have done a great job. Like I said, it’s a great release for those discovering the weird and eclectic world of Jess Franco and for fans of Franco’s work, this is a must.

You can buy the DVD version from Amazon.de here and the Bluray version here as well as from your favourite online retailers.

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The BFI Werner Herzog DVD Collection Disc 1

Werner Herzog is one of my all time favourite directors. Ever since watching his take on NOSFERATU, I knew I was hooked. Exploring both his fictional and documentary films, you will find a fascinating body of work. Sure, some of his opinions I really don’t agree with (I’m talking about you, INTO THE ABYSS and DEATH ROW) but wether you agree with the content or not, a film with Herzog’s name on it will at least touch you in one way. The British Film Institute recently released a 10 disc box set of some of Herzog’s films. Over the coming weeks (and maybe months) I will be going  through each disc here on the blog. Part review. Part retrospective. Hopefully you will join me on my Herzogian journey. Wether you are a fan of Herzog or a newcomer to his work, I hope you at least get something out of this.

AGUIRRE, THE WRATH OF GOD (1972)

(Aguirre, der Zorn Gottes)

“I am the wrath of God. Who else is with me?”

The year is 1560. A group of Spanish conquistadors and their Indian slaves, lead by Gonzalo Pizarro (Alejandro Repullés), are on a journey through the beautiful, yet deadly terrain of the Andes mountains. They are in search of the kingdom of gold, El Dorado. Unbeknownst to them, it’s a myth created by the newly conquered Indians. Whilst battling the rugged landscape, lives are lost and the expedition comes to a halt. Gonzalo gives Pedro de Ursúa (Ruy Guerra) a week to venture on a head to see what is in store. He makes Don Lope de Aguirre (Klaus Kinski) the second command. What follows is a descent into madness for Aguirre. After members of Ursuúa’s group are killed at the hands of an unseen enemy (amongst other things), becoming increasingly frustrated, Aguirre stages a mutiny and orders the surviving members of the group to join him on finding the mythical riches. Death follows Aguirre round every corner, even at his own hand. Those who survive slowly become feverish and begin to believe everything they see and hear right up until the end, where Aguirre’s small army and sick daughter are stranded on a raft. Everyone dies when they are bombarded with arrows except Aguirre. Insane, isolated and surrounded by death, Aguirre’s raft becomes overrun with monkeys and together, they slowly drift off down the river.

 What a fantastic way to start off this box set. Aguirre, the Wrath of God is nothing short of a masterpiece. On a technical level, the film is beautiful to behold. The breathtaking landscape of the Peruvian mountains and jungle are shot beautifully by Thomas Mauch. The visuals are complimented perfectly by the equally breathtaking (and not to mention haunting) score by Popol Vuh. Herzog’s documentary style overall is nothing short of spectacular. It’s often rough in places, but you get thrown in to the situation playing out on screen. Klaus Kinski steals every scene he is in, and you really get the sense that Kinski doesn’t just believe he is the character Aguirre, but also a God like figure. The electricity in his eyes is almost as ferocious as his performance.The story itself is loosely based on the accounts of Gaspar de Carvajal, a Spanish Domican monk as well as the life of Aguirre himself. It’s a very well written story but overall, it’s Kinski’s performance and the location that really hold the power of this film. Aspiring filmmakers, take note. 

THE UNPRECEDENTED DEFENCE OF THE FORTRESS DEUTSCHKREUZ (1967)

(Die beispiellose Verteidigung der Festung Deutschkreuz)

“Attacking is good, but living is better, even in poverty.”

This short film from 1966 sees four men breaking into and abandoned castle in Deutschkreutz. The castle was the site of a battle between German and Russian soldiers during World War II. The men discover old military uniforms and hardware. They proceed to act out drills, training and eventually battles. Of course, there is no emery and Herzog claims that his film is “A satire on the state of war and peace and the absurdities it inspires.”. The film is essentially silent except for the use of voice over. It’s a very simple film and crude in some regards. You can clearly see Herzog slowly perfecting his craft with this one. It’s a pleasure to see early short work of Herzog.

 LAST WORDS (1968)

(Letze Worte)

“They tell me to say no, but I won’t even say that.”

Last words is a very strange short film indeed. Filmed in two days on the island of Spinalonga island and Crete, Last Words tells the story of the last man to leave Spinalonga. The film is told through accounts of the locals and those involved in relocating the man to Crete. We find out that Spinalonga was a leper colony and that the man, as a result of being forcibly removed, flat out refuses to talk to people. He can seen during the evening however, playing the lyre in a local pub. What makes Last Words so intriguing is its unusual narrative structure. Characters repeat their lines multiple times, often in long takes. Overall, a very unusual and enjoyable short.

PRECAUTIONS AGAINST FANATICS (1969)

(Massnamen gegen Fanatiker)

“I would like to protect the horses from fanatics.”

The next short on the disc is another quirky one that showcases Herzog’s humour. It was also the first film Herzog shot in colour. Basically, the short is about various people at a racetrack in Munich who like to protect horses from fanatical fans. This includes an oddball played by Mario Adorf who demonstrates his favourite punching technique, man who likes to walk horses round a tree for 36 hours and a young boy who, despite the track owners well wishes, wants to protects horses and then eventually resigns to protecting flamingos instead. To top it off, there’s an old man who interferes with each of their interviews and isn’t happy. This short is seen to be believed and is genuinely funny. 

FATA MORGANA (1971)

“In Paradise, even gentiles move mountains.”

The final film included on the first disc isn’t a short film, but Herzog’s bizarre and often unnerving film, Fata Morgana. Shot in the Sahara desert, the film heavily relies on the image. Herzog and his cinematographer Jörg Schmidt-Reitwein capture the vast landscape primarily by long tracking shots. The cinematography throughout is devastatingly effective. To accompany the striking visuals Lotte Eisner (in the German version) provides narration reciting Mayan creation myth. Some pieces of Leonard Cohen's work are also included. Overall, the film deals with idea of mirage (the definition of Fata Morgana) and you will often find yourself seeing things in the background. Aside from the landscape we find abandoned villagers, the corpses of animals and suspicious looking residents of the area. It’s possible to get lost within the film and many aspects are open to interpretation. If one thing is for certain, there is never a dull moment throughout the film. Newcomers to Herzog may want to watch this after viewing some of his more well known and accessible films. On a side note, the making of the film is just as interesting as the film itself and is well deserving of more research.

I'm not going to go in to the technical aspects of the DVD collection until the conclusion in the final post but I can say that all films look and sound brilliant. Extras on the first disc include English and German versions of Aguirre and Fata Morgana as well as commentaries for both. There is also a stills gallery as well as theatrical trailers. Overall, just by looking at the first disc alone, this set is very promising indeed. It's great to see Herzog's earlier short films as well as seeing his more notable efforts presented so well.

I hope you will join me for my second part in this series where I will be looking at the second disc.

You can buy this set from the BFI here, MovieMail here and Amazon UK here. Buying from the BFI directly means you can support the great work they do 100%. You can also pick up a gorgeous looking steelbook of Aguirre here and here.

To find out more about the BFI and some of their release check out their website here.

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