Vampire Circus (1972)

A wonderful departure from the usual Hammer vampire film, 4 August 2009

The 1970s are almost universally regarded as the weakest period in Hammer Films' history. Yet as I sit and think about Hammer's output in their last few years, I'm amazed at how many of the movies I genuinely enjoy. Twins of Evil, Blood from the Mummy's Tomb, Dr. Jekyll & Sister Hyde, Dracula A.D 1972 (I know I may be alone in rating this one as highly as I do), Captain Kronos: Vampire Hunter, and Frankenstein and the Monster from Hell – all made in the 70s and all solidly entertaining films. Add to that list Vampire Circus. In fact, it might be the best of the bunch.

In a small 19th century Serbian village, Stetl, the locals finally find the courage and band together to put an end to the blood thirsty rule of Count Mitterhaus (Robert Tayman). Count Mitterhaus, you see, was a vampire (But in a Hammer film, isn't every Count a vampire?). As the stake is driven through the heart and the light is fading, he puts a curse on the village and vows to return and seek his revenge. Fifteen years later, with Stetl beset by a plague so bad that other nearby villages have set-up armed roadblocks to keep the people in, it seems that the Count's curse has come to pass. Just when things look their bleakest, the Circus of Nights comes to town. Looking for a relief from their despair, the townspeople are delighted to have this diversion in their midst and welcome the newcomers. Clowns, dancers, animals, and a strongman - the circus is a success. But when some of the town's locals, including the children, turn up with dead, the circus performers are immediately blamed. Are these innocent circus folk or are they something more sinister with another purpose altogether – like resurrecting the body of Count Mitterhaus?

From the very opening scene where the little girl is led in what seems to be the most innocent manner into a nearby castle only to meet her fate at the hands of the blood-thirsty Count, Vampire Circus gets off to a great start and never really lets up. That opening scene sets the tone of much of what's to come. Honestly, I just loved it. While it starts out innocently enough, it features a rather startling and unexpected conclusion. Robery Tayman's Count Mitterhaus may just be the most fiendish, savage vampire to appear in a Hammer film - and that includes the work of Christopher Lee. Not even the children are safe in Vampire Circus. For example, even though we don't see it, it's implied that a whole school of children are ripped to shreds by Emil's (Anthony Higgins) black panther persona. There's probably as much claret spilled, necks ripped open, and limbs taken off in Vampire Circus as any Hammer film I can think of. But it's not all graphic violence. There's some real atmosphere at work here as well. The whole movie has a creepy sort of vibe to it that really works. The circus is just odd enough to be eerie without going overboard. And I love the liberties Hammer took in Vampire Circus with the traditional vampire lore. Circus performers turning form animal into vampire, humans and vampires living (and loving) together, etc. make Vampire Circus a unique experience. The acting is, for the most part, as good as you'll find in any Hammer film. Even though you won't find any of the big name Hammer stars, Tayman, Higgins, Adrienne Corri, and several others give outstanding performances. Finally, though I've seen some reviewers dismiss the "amateurish" special effects, they really worked quite well for me. Emil's transformation to panther or the twins flying transformations into bats are amazingly well done.

I realize it's not all perfect (I didn't care for Thorley Walters' performance, John Moulder-Brown seemed way too young, and too many scenes were too obviously filmed in a studio), but this is one of my Hammer favorites. Vampire Circus is a real treat.

8/10

Frenzy (1972)

"Bob's your uncle.", 2 April 2008

I didn't realize that Frenzy was so divisive among Hitchcock fans. As with the last Hitchcock movie I watched, The Trouble with Harry, Frenzy seems to have more than its fair share of critics. The criticism of both movies seems to derive from a similar source – Hitch deviated from what people expected. I'm not sure why people want to see the same movie over and over, but if you read the negative user comments on IMDb, you'll get that impression. What's wrong with shifting gears and making a comedy like The Trouble with Harry? And what's wrong with turning up the violence and making a movie like Frenzy? In each case, I appreciate what Hitchcock was trying to do and thoroughly enjoyed both movies.

Frenzy is essentially a "Wrong Man" type movie that Hitch visited several times throughout his career. You know, an innocent man is accused of a crime and spends the rest of the movie on the run from the police trying to prove he's not guilty. In this case, Richard Blaney (Jon Finch), a down on his luck and out of work bartender, is accused of violently raping a series of women before using his necktie to strangle them. Through some really bad luck, the case of circumstantial evidence against Blaney grows to the point that he becomes the only suspect. Tried and convicted, Blaney vows revenge against the man he knows to be guilty.

I don't know that I would call Frenzy Hitchcock's best movie as some have, but it is a very entertaining thriller. It's an odd but satisfying mix of the most violent images (the first rape and murder are difficult to watch) and some of the darkest, funniest comedy (the potato truck or the dinner scenes for example) that Hitch ever made. Hitch proves his genius by masterfully balancing the two – violence and comedy. And if you weren't already convinced of his reputation as a director, Hitchcock throws in a couple of very nice tracking shots, a clever use of sound, and a few other tricks that I won't begin to attempt to describe (just watch the movie) for good measure. Hitch also shows his genius through some of his casting choices. Other than Finch in the lead (he's just not a very sympathetic figure to me), the rest of the actors are incredibly strong. Barry Foster gives one of the more memorable performances I've seen recently. He's just so creepy. In fact, all of the supporting players, from the prim Monica Barling played by Jean March to the hysterical Vivian Merchant as a would-be gourmet chef, are perfect. And when you add the nice location shots and an interesting, well written script (have the words "you're my type of woman" ever been so menacing) to the direction and acting, Frenzy becomes a very worthy and memorable entry in Hitchcock's filmography.

8/10

Tragic Ceremony (1972)

- Estratto dagli archivi segreti della polizia di una capitale europea
And I was sure this movie would work for me, 22 February 2008

On the way home from a day at the beach, four young people seek shelter from a torrential downpour at the home of Lord and Lady Alexander after their car runs out of gas. They don't know it, but the house they're staying in is to be the site of a Satanic ritual. Jane (Camille Keaton), the only female of the group, is to be sacrificed. As her male companions rush to her aid, one of them accidentally kills Lady Alexander. Things really get out of hand and everyone else attending the black mass is also killed. The four try to make an escape, but soon discover there's no escape from what they've witnessed. One by one, they meet their fates.

Gong into Tragic Ceremony, I was positive I would enjoy it. Slow-burn Gothic horror is right up my alley. I'm also quite fond of some of Riccardo Freda's other movies like The Horrible Dr. Hichcock, The Ghost, and I Vampiri. Tragic Ceremony seemed to be a sure thing. Unfortunately, things don't always work out the way they should. The biggest tragedy with respect to Tragic Ceremony is the time I spent watching this mess of a movie. With a few minor exceptions, nothing about the film appealed to me or worked for me. The characters are unlikeable, the plot is incoherent and schizophrenic, and the pacing is terrible. There's a subplot about some cursed pearls that goes nowhere and only serves to confuse things even further. In addition, nothing interesting happens for most of the movie. By the time the four leads realize they're in danger, I was well past the point of caring. And I don't understand the reviews I've read that praise the acting of Camille Keaton. I suppose it's a terrific performance if you consider an emotionless daze to be acting. The three male leads are the very definition of nondescript. They do nothing to stand out. The supporting cast includes some genre favorites like Luigi Pistilli, Luciana Paluzzi, and Paul Muller, but none is given anything to do. In fact Muller's main contribution is a two minute long monologue at the end of the movie that attempts to explain what happened in the previous 80 or so minutes. It's a weak attempt to provide a wrap-up to a very weak movie.

3/10

Skyjacked (1972)

"Well, one good thing: all drinks are on the airline for everyone.", 27 July 2007

A flight bound for Minnesota is hijacked and diverted to Anchorage with Moscow as its ultimate destination. Between terrible weather and zero visibility over Alaska and the possibility of being shot down my Russian fighters, it's going to be a harrowing journey. And that doesn't even take into account the unknown, crazed hijacker with a bomb who is somewhere on the plane!

I'll be honest – Skyjacked probably doesn't deserve the rating (7/10) I've given it. But I had such a good time watching it that I couldn't bring myself to rate it any lower. The situations may be predictable to anyone who has seen more than a handful of 70s disaster-style movies, but that doesn't make it any less enjoyable. My only real complaint is that the movie never goes far enough in the way of over-the-top camp or cheesy clichés. Much of Skyjacked is played too straight forward for its own good.

Old square-jawed Charlton Heston is the pilot. His Captain O'Hara is the same no-nonsense character who spits lines like nails and has the look on his face of someone who has been constipated for a couple of weeks that Heston always played. But boy is he good at it. I love watching the guy work! The rest of the cast takes the notion of two-dimensional characters to new heights. There's Rosey Grier as the gregarious black musician, Jeanne Crain as the middle-aged woman in the midst of some mysterious crisis, Walter Pidgeon as the old Senator who knows more than his share of national secrets, Susan Dey as the hippie who couldn't possibly afford to sit in first class, Mariette Hartley as the pregnant woman on the verge of going into labor, and Claude Akins as the only man who could give Heston a run for his money in the no-nonsense department. Even James Brolin, who outstanding as the crazed hijacker, isn't fleshed-out beyond a couple of ridiculous, but quite funny, flashbacks. They may be a predictable bunch, but they make Skyjacked a lot of fun.

One of my favorite parts of Skyjacked is the way director John Guillermin tries to make a mystery out of the hijacker's identity. First, I can't imagine anyone actually found it difficult to spot him. It's pretty obvious – he's the one acting nuttier than a fruitcake. (Not to mention that the new DVD gives away his identity on the back cover – good going guys!) Second, I love the way Guillermin tries to throw suspicion on a number of characters. For example, the only clue to the hijacker's identity we have is a tube of red lipstick. There's no way you can miss it – Guillermin zooms in on it about a dozen times. Then, a couple of scenes later, we see Jeanne Crain applying . . are you ready for this . . . red lipstick! I had to laugh! How in the world could anyone possibly imagine Jeanne Crain as a hijacker? Too funny!

7/10

Dracula, Prisoner of Frankenstein (1972)

- Drácula contra Frankenstein
At least it has a decent Bruno Nicolai score, 12 August 2006

Because this is Franco, giving a plot rundown is something of a futile challenge, but I'll do my best to hit some of the highlights. Dr. Frankenstein arrives in some unnamed village to work in a supposedly abandoned castle. The castle actually isn't so abandoned as it's really the home of Dracula and his vampire servants. It's not long before Dr. Frankenstein revives his creation. Dr. Frankenstein puts his monster and Dracula to work kidnapping local women for his experiments. Why? I have no idea, but he straps them to a table and does his thing. But Dracula being Dracula is sucking the life out of some of the locals. It's up to Dr. Seward and the local gypsies/werewolves to put a stop to Frankenstein and Dracula.

During the first few moments of Dracula, Prisoner of Frankenstein, I was having trouble believing that this was a Franco film. The opening shots of the castle with Bruno Nicolai's score are well done and, for the lack of anything better, un-Franco-like. But this impression only lasted a few moments as Franco quickly shifts from the imposing and foreboding castle to a shot of a random dog on a random staircase. That's Franco for you.

Compared with some of the other Franco films I've seen, Dracula, Prisoner of Frankenstein isn't too bad. Don't misunderstand, it's not very good, but if you've seen something like Franco's Oasis of the Zombies, this movie is a winner. You get a lot of what you expect from Franco – suspect acting, poor make-up effects, and shaky camera work. One thing that really bothered me, though, is that Franco can't seem to decide what time period his film is set. While some characters drive cars, Dr. Seward gets around in a horse and buggy. And even though Dr. Frankenstein has a large collection of machines that require electricity, there's not a light bulb to be found anywhere. Things like this just bug me. . In the end, I can't in good conscious recommend Dracula, Prisoner of Frankenstein to anyone other than the most die-hard of Franco completists.

3/10

Crime Boss (1972)

- I familiari delle vittime non saranno avvertiti
An average Italian crime film, 9 August 2006

Antonio Mancuso (Antonio Sabato) is a small time hood with dreams of moving up in the family. His ambitions lead him to do a job for one of the big bosses in Italy, Don Vincenzo (Telly Savalas). The two strike up a friendship that quickly turns into something of a father/son relationship. They love each other like a father and son would. But when Don Vincenzo begins to show a weakness, Mancuso gathers those loyal to him for a bloody showdown with Don Vincenzo.

While not the action overload that many of the Italian cop/crime films tend to be, there was enough going on to keep me interested throughout most of the movie. And while the violence isn't as over-the-top and bloody as some other Polizia I've seen, there are several set-pieces in Crime Boss that feature some well choreographed shoot outs. The final showdown between Mancuso and Don Vincenzo is exciting and heartbreaking at the same time. Finally, a big plus for Crime Boss is Telly Savalas. The guy was just so cool that it's impossible for me not to enjoy his performance here.

The biggest problem I have with Crime Boss is with the lead, Antonio Sabato. He's okay, but it's really hard to get excited about the man and care for his character the way you should. He lacks the charisma or the presence or that certain something that the really good Italian action/crime stars had. I'll quite beating around the bush and just say it – he's dull. Sabato can't hold a candle to the likes of Fabio Testi, Tomas Milian, or Franco Nero.

6/10

Prime Cut (1972)

Lee Marvin, Gene Hackman, and no plot, 5 July 2006

The best thing about Prime Cut is the chance to see both Lee Marvin and Gene Hackman. Marvin is the understated bad-ass we've seen before and Gene Hackman is the greasy bad guy we've seen before. If you like these two in familiar roles that don't require them to stretch their acting abilities, Prime Cut is for you. There are some good action sequences (especially the scene in the wheat field), but it's the two stars that make this one worthwhile. The plot certainly isn't the attraction. In fact, the plot is the weakest part of the movie. Why? Because there is no plot. Instead, Prime Cut is a series of action sequences strung together with a bare minimum of story. When the movie ended, I had more questions than when it began. What's the history between Marvin and Hackman? What is the relationship between Marvin and Hackman's wife? Does anyone in the movie have a backstory? Are the Kansas City area police completely oblivious to everything going on around them? Was that just some random fat guy on the combine trying to kill Marvin? Do people in Kansas City really wear overalls with no shirt or shoes? It's these burning questions that I wanted answers to.

5/10

Man from Deep River (1972)

- Il paese del sesso selvaggio
For a "cannibal" film, it's surprisingly touching and sad, 18 June 2006

It's amazing that the relatively tame Man from Deep River spawned the whole Italian cannibal sub-genre. I use the word "tame" because in comparison to other similar films it's just that – tame. Sure, there are a few scenes of over-the-top cannibal violence and real animal deaths, but they are not the focus of the movie. The scenes of violence that give the Man from Deep River its notoriety could have been excluded and the movie would have probably been just as good. The main benefit to the movie of these scenes is to provide a sense of realism.

The main plot concerns a man who at first is held prisoner by a primitive tribe only to become accepted by the tribe and, in turn, accept the tribe as his own. Other commentators have spoken of the movie's similarity to something like Dances with Wolves and it's an accurate comparison. Ivan Rassimov is quite good in the Kevin Costner role. Other than his incredibly bad dye job that remains with him throughout the film even though at least a year of time passes, he's believable. A pre-boob job Me Me Lai has the Mary McDonnell role. She not the greatest actress you'll ever see, but at least here she does look more authentic as a native than she does in later cannibal films with her perfect make-up and over inflated chest. The rest of the cast, made up of locals and real tribes-people, are surprisingly effective.

Another surprise is the way Lenzi allows the relationship between Rassimov and Me Me to grow believably throughout the movie. Too often, films like Man from Deep River just expect the viewer to accept the fact that the best looking native woman immediately and without reason falls for the white male intruder. The relationship in Man from Deep River is interesting and a far cry from what you'll find in other cannibal films. For what is essentially an early 70s Italian exploitation film, it's actually quite touching and sad.

6/10

Amuck (1972)

- Alla ricerca del piacere
Even with Barbara Bouchet and Rosalba Neri, it's surprisingly average, 20 May 2006

Given that Amuck features two of my Euro-favorites, Barbara Bouchet and Rosalba Neri, it's a surprisingly average giallo. Bouchet is a young secretary working for a publishing house. She becomes concerned when her friend and fellow co-worker goes missing. She gets assigned to the same writer (played by the dull Farley Granger) to investigate her friend's disappearance. She immediately suspects the writer and his lover, Neri, and must endure their sexual advances if she is to find her friend.

For a film of this type to be effective, I've found that it's important to believe the protagonist is in real danger. You have to believe that their investigations might lead to their death. Other than the duck hunting scene in Amuck, I never once felt that Bouchet's character was in any real sort of mortal peril. While there was a real chance she was going to be drugged and forced to have sex, I knew she wasn't going to die. Add to this the fact that the solution to the murder is laid out in the first 30 minutes and you've got no real tension or suspense.

5/10

Gargoyles (1972) (TV)

I'm glad to have seen this again after 34 years, 10 May 2006

I think I was 8 years-old when I saw Gargoyles back in 1972. It absolutely scared the pants off me. I'll never forget the sight of those clawed hands reaching over the foot of the bed. I had trouble sleeping for days and I checked and rechecked the foot of my own bed several times each night.. And while it no longer has that kind of effect on me, considering its television origins, Gargoyles still provides a few chills along the way. I admit that when I rewatched it tonight, those hands on the bed did make me jump.

To a lot of modern audiences raised on more sophisticated special effects, Gargoyles may seem silly. Sure, there are flaws with the special effects (for example, it's quite obvious that the creatures' skins are body suits), but there's something about them that makes the whole thing a lot of fun. Maybe it's the wings or maybe it's the variety of looks or maybe they just remind me of Sleestaks, but whatever it is, they work for me. The mask Bernie Casey wears is especially frightening even though it obvious he has no real movement in his face.

One thing that could have made the film better for me is if Grayson Hall had had more screen time. I always enjoy her campy, over-the-top performances. It's a shame she had so little to do and was killed off so early.

Finally, as I watched the movie earlier tonight, it dawned on me that I was not hearing Bernie Casey's voice coming from the lead gargoyle. I was probably too young to know the difference 34 years ago, but something about that voice reminded me of my childhood. And then it suddenly hit me where I had heard that voice before. After the movie was over, I checked on IMDb and, sure enough, I was right. Dr. Zin!!! That's right. The gargoyle's voice was done by the same man (Vic Perrin) who did Dr. Zin.

6/10

Red Queen Kills 7 Times (1972)

- La dama rossa uccide sette volte
Nice looking Giallo with an awesome killer, 7 May 2006

What a fun movie! If you're a Giallo fan, Red Queen Kills 7 Times is a real winner. To begin with, it's hard to go wrong with Barbara Bouchet and Marina Malfatti in the same Giallo. Both are wonderful - especially the wide-eyed innocent Bouchet as the guilt ridden woman fearing for her life. The kill scenes in Red Queen Kills 7 Times are especially nice and feature enough blood to make most fans happy. One of the first murders comes rather unexpectedly and really gets the movie off to a good start. The killer, The Red Queen, is one of the most over-the-top and interesting looking murderers I've seen in an Italian movie. The 70s sets and fashions are wonderful. In fact, all the visuals are interesting with the laughing Red Queen running across the bridge at night being one of my favorite moments in the film. The convoluted plot held my interest throughout. Finally, Bruno Nicolai's score may be the best I've heard from the composer. The main theme is so memorable I haven't been able to get it out of my head for two days.

The only two issues I have with Red Queen Kills 7 Times come in the film's finale. First, the person responsible for the murders is far too easy to spot. If you've seen more than a couple Gialli, you won't have any problem determining who is behind the killings. Second, the ending feels a little too rushed and, as a result, is a bit confusing. I'm definitely not one who needs every plot point spelled out to me, but I'll admit to being at a loss to explain it all. A second viewing might just clear this up.

8/10

Murder Mansion (1972)

- La mansión de la niebla
If it weren't for those meddling kids......, 2 May 2006

As much as I enjoy Murder Mansion, don't take my enthusiasm for the film as some kind of recommendation. Although I don't like the term, I am fully aware that Murder Mansion is a "guilty pleasure" of mine. I realize that it's not really a very good movie, but I love it just the same. So watch it at your own risk and don't blame me if you don't like it. You've been warned!

If you do decide to give Murder Mansion a try, here's what you can expect: an incoherent plot that makes no sense regardless of the number of times I watch it; a beginning that seems to be leading nowhere; most likely, a bad, chopped-up transfer; silly dialogue; and plot holes big enough to drive a truck through. You'll also find what I call one of the best Scooby Doo moments I've seen. All that's missing is the "If it weren't for those meddling kids" line.

7/10

Delirium (1972)

- Delirio caldo
Requires a rewatch., 25 April 2006

As I've written any number of times, one of the things I enjoy most about Italian films is their convoluted plots. I've rarely run across a Giallo that I have difficulty making sense out of after it's over. But I've met my match with Delirium. It's a movie that I'm definitely going to have to watch again to fully comprehend what's going on.

From what I did get out of the movie, Delirium is the story of a police psychologist investigating a string of murder that he himself may be responsible for. A number of young girls are killed in a variety of explicit and shocking ways. The doctor's wife appears to understand her husband's madness, but is so in love with him that she actively protects him. But can she also protect herself either from her husband or from going mad? (At least this is what I think the film is about.)

Those interested in a variety of explicit and imaginative kills should find something to enjoy in Delirium. My "favorite" may be the first when the girl is stripped and killed in the river. As he proved in Bloody Pit of Horror, Mickey Hargitay could play a completely insane, over-the-top killer with the best of them. He may not have been the greatest actor in the world, but I certainly appreciate the passion and energy he brought to his films. If you're more into the sex aspects of Gialli, there's plenty of that found in Delirium. The most obvious example is the dream sequence where Hargitay is chained by his neck and forced to watch his wife, his niece, and his maid engage in a sexual romp. But, if you watch Gialli for the mystery aspects and to try to figure out "who done it", as I've indicated, Delirium may not be the best Giallo for you.

5/10

Scenes from a Murder (1972)

- L'assassino... è al telefono
The Uber-Cool Telly Savalas, 23 April 2006

Scenes from a Murder is a fairly rare giallo that I felt fortunate to have found in a used video store. The movie stars the uber-cool Telly Savalas as a stalker. The woman he's after has amnesia and has trouble remembering simple things like where she lives or that her lover died five years previous. For whatever reason, her family and friends allow her to wander aimlessly around the city. For the first 2/3 of the movie, that's pretty much all we get – a woman with amnesia stumbling around the city with the every present Savalas close behind. It's not very exciting and not very entertaining. It's not until the final third that anything really happens. The scenes of Savalas close on the woman's heels through an abandoned sound stage are effective but account for far too little of the movie. These scenes and the final revelation keep this from being a completely wasted experience.

5/10

Snowball Express (1972)

A fond childhood memory, 17 April 2006

I was nine years old when Disney's Snowball Express first came out. I can still remember seeing it in the theaters and having an absolute wonderful time with it. I've seen it several times over the years since and while I no longer consider it one of my favorites, I still have a good time with it. Regardless of how old I've become or how much my taste in movies has changed, Snowball Express never fails to provide some level of entertainment or make me laugh out loud at a couple of the funnier moments. It's just good, simple, clean fun.

One thing that makes many of these Disney live action films good to me is the presence of Dean Jones. He is an Everyman. He has such an easy-going, amiable air about him that it's easy to put yourself in his shoes. His reaction to situations and events occurring around him rings true (given a certain level of exaggeration necessary for comedy). It's this believability that makes him relatable and perfect for a role like the one in Snowball Express.

6/10

Seven Blood-Stained Orchids (1972)

- Sette orchidee macchiate di rosso

A good representation of what the genre has to offer, 15 March 2006

A series of seemingly unrelated women are brutally murdered. The only clue is the silver crescent moon shaped pendant the killer leaves with each body. After the killer is unsuccessful in his attempt to murder a woman on a train, she begins to put the pieces of the mystery together. With the help of her husband, she begins to suspect that the murders may have something to do with a specific period of time years previous when she and the other victims were connected to the hotel her father owned. But can she solve the mystery before the killer discovers she is still alive and strikes again?

Seven Blood-Stained Orchids is a very solid Giallo. It's not as flashy as some as some other Gialli, but the mystery aspects of the movie are intriguing. Seven Blood-Stained Orchids plays out a lot like an Agatha Christie story with a mysterious event in the past, a few baffling clues, and a red herring or two thrown in for good measure. Sure, there are the natural plot holes you'll find in other movies of this type, but they hardly get in the way of the fun. As you might expect, the movie features a few nasty death scenes including one involving power tools. Finally, the supporting cast includes more than a couple recognizable faces to fans of 70s genre films including Antonio Sabato, Marina Malfatti, Bruno Corazzari, and the always delightful Marisa Mell.

I've always felt that Seven Blood-Stained Orchids would make a good starting point for someone new to Gialli looking for something other than the more well-known films of Argento and Bava. It's a good representation of what the genre has to offer.

8/10

Death Walks at Midnight (1972)

- La morte accarezza a mezzanotte
Something of a letdown, 8 March 2006

During an experiment with a hallucinogenic drug, model Valentina (Nieves Navarro aka Susan Scott) sees a woman being brutally murdered by a man wearing a spiked iron glove. But when no body is found, she can't seem to get anyone to believe her story. She begins to see the killer everywhere she goes. She's sure her life is in danger and is unable to convince her friends or the police that she's being stalked by a vicious murderer.

I had high hopes for Death Walks at Midnight having just seen and enjoyed Death Walks on High Heels. The two movies have so much in common that it seemed like a sure thing. While not being a sequel, the two movies share a director, a number of actors, and a convoluted plot. But while I found the twists and turns in Death Walks on High Heels a joy to watch unfold, Death Walks at Midnight is a little too convoluted for its own good. Story lines are introduced and almost dropped immediately with no resolution. These story tangents have nothing to do with the plot other than muddying the waters. Characters are introduced with no background information and almost immediately forgotten about. Too many of the characters never seem "real" or fleshed-out and are not effective red herrings. And, I almost get the feeling that much of the movie is weird for the sake of being weird. There's no real purpose for many of the unusual events, people, places, etc. in Death Walks at Midnight other than adding some bizarreness to the proceedings. For example, why even have the asylum scene? It adds nothing to the film. The problems with the plot are really disappointing because not only did I enjoy the first movie, but Death Walks at Midnight's screenplay was written by Sergio Corbucci. Corbucci directed some of my favorite Spaghetti Westerns. But here, he's written what I'll describe as a spastic script that tries too hard to be different.

That's not to say the movie was a total waste of time. There are a number of things I really enjoyed about Death Walks at Midnight. First would have to be Nieves Navarro. As I said when writing about Death Walk on High Heels, Navarro is excellent in this kind of film. She's a natural playing the "Woman in Distress". Navarro has a real, undeniable screen presence. Second would have to be the spiked glove. It's as nasty a murder weapon as you'll see. Finally, I like the overall look of the film. Ercoli had a real eye for some interesting visuals.

In the end, I can't wholeheartedly recommend Death Walks at Midnight to anyone other than a die hard Giallo fan. There are far better, more entertaining examples of the genre that might appeal more to the casual fan.

5/10

It Can Be Done, Amigo (1972)

- Si può fare... amigo
What a bizarre plot!, 27 February 2006

I would love to briefly explain the plot of It Can Be Done, Amigo, but I don't think I'm capable. It almost defies words with its bizarreness. I'll give it a stab though. Bud Spencer is Coburn, the opposite of what I normally associate with the hero of a Spaghetti Western (SW). He's miles away from the image of the svelte Man with No Name. Coburn is a big man who looks like he may crush the horse he rides. He doesn't carry a gun, but relies on his powerful fists to defend himself. He is entrusted with safely delivering a young boy to his home after the boy's uncle dies. The trip won't be easy as hot on Coburn's heels is a wagon carrying the woman (Dany Saval) who insists on marrying Coburn, her brother (Jack Palance) who wants to kill Coburn, and the brother's traveling brothel. Once Coburn and the boy reach the boy's home, it seems that everyone in town, including the town's Mayor/Sheriff/Minister, is anxious to get it away from him, whether by buying it or killing to get it. Coburn's got to figure out a way to help the boy keep his land all the while staying one move ahead of his betrothed, her brother, and the Mayor/Sheriff/Minister who will stop at nothing to get the homestead.

Whew! That was difficult. But as confusing and crazy as the plot may sound, in the end, it all makes sense. Bud Spencer, as he proved in his many films with Terence Hill, has a flair for comedy and most of it works. Sure, there are a few misfires along the way, but you can generally count on Spencer to deliver. I cannot say the same for Jack Palance. Unlike almost every other review I've read on It Can Be Done, Amigo, I don't care for Palance in this film. His constant grimaces and sneering really didn't work for me. The rest of the cast is okay with Dany Saval giving a standout supporting performance.

As much fun as I had with parts of this film, I can't rate it any higher because of the sluggish first act. The movie starts off at a snails pace and I was really worried I might fall asleep if something didn't happen soon. A little better pacing throughout It Can Be Done, Amigo might have gone a long way to making this a truly memorable SW.

5/10

Blacula (1972)

Gotta love Denise Nicholas, 29 January 2006

In the 18th Century, Count Dracula invites an African Prince and his wife to his home in Transylvania to discuss an alliance between their two countries. Slavery and the Prince's wife prove to be the sticking point. Before the Prince can take his leave, Dracula attacks the Prince, places a curse on him, and puts his body in a locked casket for eternity. Centuries later, the Prince is released from his prison and almost immediately meets a woman who is remarkably similar to his wife. The Prince, now known as Blacula, will do whatever it takes to make this woman his new bride.

Sounds familiar, huh? The basic plot structure of Blacula has been seen countless times before. There's very little new ground broken here. In fact, and to be quite honest, Blacula isn't very good. Much of the acting is bad and the special effects are even worse. Blacula's makeup changes from scene to scene. Atmosphere and tension are totally foreign. Logic is non-existent. But what makes Blacula at least somewhat enjoyable are the Blaxplotation and other camp elements. Blacula is, of course, black and this is modern day (1972) America. Blacula swings at a nightclub to some very funky 70s music. Blacula's first two victims are a pair of homosexuals presented with every 70s stereotype intact. Blacula makes love with his intended victim. You won't see this stuff in just any old vampire film.

5/10

The Big Bird Cage (1972)

Pam, Sid, and Anitra - Now that's a threesome!, 29 December 2005

In the jungles of some unnamed banana republic sits a women's prison. The inmates are treated as slaves and forced to work in the sugar cane fields. A nearby band of revolutionaries comes up with an idea to recruit additional soldiers – they need women to attract more men. The prison offers them a ready made supply of women. But how to get the women out?

Most WIP films I've seen are, in truth, very downbeat and depressing. They present scene after scene of women being tortured and otherwise humiliated. The Big Bird Cage is something of a change from the standard formula. Sure, the movie features some of the same torture scenes, gratuitous nudity, and violence, but much of it is done with a sense of humor that worked for me. Watching Sid Haig do his over-the-top queen shtick may be un-PC, but sign me up for sensitivity training because I found it very funny. It's a novel idea for a WIP film to have gay male guards to keep them from falling for the temptations of their prisoners.

The plot makes little sense if you stop and think about it. The plan the revolutionaries come up with to get the women out of the prison makes about as much sense as skydiving without a parachute and has about as much chance for success. It only serves to get Pam Grier into the prison to work from the inside. The film works best if you ignore the implausibility of the situation and just enjoy.

I love watching Pam Grier, but to be honest, her delivery is often stilted. This is especially true in her early films. The Big Bird Cage may be the best of her early work. For the most part, she's more natural sounding. She and Sid Haig have a real chemistry that works in these movies. I would love to see someone reunite the pair in a new movie. The cast also features Anitra Ford, who may not be the best actress in the world, but she's definitely easy on the eyes.

7/10