You may remember our occasional series “Great moments in cinema” where we showcase movie you may not catch on tv any day soon and the scenes that are mostly responsible for that. It looks like our archive is missing a couple of older editions and we really should do something about that, but today we’ll focus on a brand new edition. And by ‘new’, we mean a Turkish movie from 1974.
We’ve seen bits of this scene before, but we’re proud – we’ll have to redefine ‘proud’ – to show you the full-length scene. And an intro to boost… our Karate Girl is beating up a girl in order to get vital information. This is a Turkish film and it’s hard to figure out what’s done worse: the English dubbing or the acting skills that went into pretending this is a real fight and not an ode to a German folklore dance.
But fear not, after 20 seconds of almost being hit in the face, the girl caves in and tells where the evil guy is hiding. In fact, he’s apparently so evil he has to keep up his disguise while lying on the bed and browsing an adult mag. Actually, sorry for spoiling that… because maybe you hadn’t noticed our baddie was wearing a wig. After all, it looks so convincing…
However, it’s not as convincing as what comes next: our heroine fights the baddie and then shoots him… more than once (as we hear the voice of her sensei say: “After shooting him once, you must shoot again. You may think he is dead, but he may be alive.”)
Opinions differ. What one person likes, another doesn’t. Some comments about the short film below are negative, going from “1/10” (not exactly a multi-layered review) to “excellent job”. One reviewer said Curve lacked a back-ground story. If you read some of our earlier reviews of short movies, you might remember we don’t agree with that. Short movies, if done well, are perfectly equipped to show you a singular moment or event. Curve shows you a young woman clinging to a smooth surface and well aware of one thing: there’s a deep dark abyss beneath her feet and falling doesn’t seem like the best option. You don’t know why she’s there or why there’s blood on her head (Did she fall? Was she pushed?) No, in the end there’s only one question here: can she cling on or not?
Curve, written and directed by Tim Egan and starring Laura Jane Turner, is an Australian movie. Not that it shows: the actress doesn’t speak and the curve itself could’ve been anywhere (or nowhere). It’s a tiny unworldly atmosphere, reduced to the yes/no question we mentioned above.
If that’s not your thing, don’t bother with Curve. But as we mentioned earlier: opinions differ. Curve is the winner of several awards as you can see in the oblong below. There’s also a play button at the bottom left. Feel free to click on it.
Hello everyone. It has been a while, but at least for this summer Avenue Kurtodrome will return with weekly updates. Weekly updates, the summer months… one might even think we’ve been inspired by the programme that gave us our name. Speaking of which, we’ll talk about an Alex Cox movie next week. But to kick us off – and to prove we’re back in style – some Eye Candy (as it’s been a while, that’s the Avenue’s code for clips or short movies).
Blood Pulls a Gun is a short movie of just over 18 minutes, released in 2014 with a world premier at SXSW. It’s the winner of the Gold ACS Award 2014 (which is short for Australian Cinematographers Society) and won Best Emerging Film Maker at the Melbourne International Film Festival 2014. That film maker is Ben Briand, a name you might have heard before from another short: 2009’s Apricot. (If not, feel free to expand your Eye Candy session for another 11 minutes by watching it here.)
In Blood Pulls a Gun we’re introduced to Alice, a teenage girl who “gets a keyhole look into a dangerous and mysterious world when a tattooed stranger checks into her roadside motel”. Alice is the daughter of the motel owner and she likes to keep momentos from guests, which she stores in a box. The short may have been recorded in Australia’s Swansea, but the feel is very much somewhere in the US’s Bible Belt. And by somewhere, we mean a non-descript place between two more important locations. Alice (played by Odessa Young) is a typical teen in a movie: trying to discover herself while growing up in the neighbourhood of an impressionable young boy and lots of men who spend one night in a motel, probably on their way to another destination. The sunglasses, the pink paper heart on her bedroom wall, the ambitious use of lipstick… all find their way into these 18 minutes. As does Blood Lieberman, whose arrival at the hotel does not go unnoticed. Like Alice, you’re wondering if Blood is his real name. You never know: if someone asks you to draw a picture of a guy called Blood, your cartoon might just look like Mr Lieberman. Alice peeks into Blood’s room and suddenly becomes a peeping tom, seeing Blood seducing a woman. She’s wearing a wig, like Alice’s voice-over narration, another stereotype subtly used by Ben Briand.
A masterpiece might be too much credit, but Blood Pulls a Gun is definitely a masterful piece of genre cinema. The right notes are struck and over the course of 18 minutes you get enough bits of information to label characters – especially Alice but to quite some extent also Blood – round rather than flat, but also enough empty spots in the story for you to fill. Shorts, even more than feature-length films, have a tendency to overexplain characters and their actions. Add to this (voice-over) lines like “When cats have sex, it sounds as if they’re fighting. People too, especially the people that come here.” and you know you’re in for a treat.
So here is – without further ado and to mark the beginning of the Avenue’s summer – Blood Pulls a Gun. Enjoy!
After a night out you wake up in a strange bed and have no recollection of what happened or indeed the name of the person you spent the night with. You find out her name is Julia (Michelle Jenner) and you introduce yourself as Julio (Julian Villagran). Oh, what a funny coincidence. Anyway, it’s been fun and you’re about to bid farewell when you notice there’s nobody in the streets. Oh, and there’s a UFO on top of a nearby apartment block. Turns out you’ve both missed the invasion of extraterrestrials.
Is the Spanish film Extraterrestre a movie about extraterrestrials? Well, yes and no. While the invasion is part of the story, the plot seems to be around Julio and more importantly Julia. It turns out Julia’s neighbour has an unhealthy obsession with her and Julia seems to have a boyfriend too. Excuses have to be made and stories have to invented to cover up their nightly affair. How that happens and the consequences of all those stories is the core of this film by Nacho Vigalondo. Don’t expect a lot of sci-fi or you’ll be bitterly disappointed. Expect a quirky comedy about people whose lives are being taken over by lies (and some flying saucers that inspire them). The fun thing is that none of the characters may be exceptionally likable, but because of the situation you sit there and wonder how their futures will develop. Because I wasn’t expecting anything, I can’t say I was disappointed and indeed, I genuinely liked Extraterrestre.
That’s also why I offer you this trailer with the biggest reservations. A lot of the developments are already hinted at or indeed shown. But if you want to see how the film is visually made, then feel free to check out the trailer or at least a couple of seconds. Hovering between 7.5 and 8 out of 10, Extreterrestre will probably find itself in my Top 10 of 2012. Of course, it’s already 2013 but because of the recent events in my personal life there’s a handful of movies I still need to review before the list can be compiled, so expect the list in approximately two weeks. Which leaves you for now with the trailer of Extraterrestre or, if you don’t like any form of spoilers, the end of this article. Happy New Year!
Shehnaz Begum directed The Cat-Beast (Da Khwar Lasme Spogmay in its original title) and cast herself as the catlike avenger. Her feline tongue movements are unlike any other you’ve ever seen in a movie before and are so eerily mimicked even David Attenborough could be fooled into thinking we’re dealing with a genuine animal. Well, at least the sponsor of this film was subtle…
Let’s celebrate the Avenue’s return with something topical and what is more topical on Boxing Day than a movie that takes place on Christmas? Christmas Eve, to be precise, but we’ll gloss over that for now.
Lady on a Train is a movie from 1945 that combines a whodunit with comedy and musical. Sounds like more than you can handle? Well, you’re not entirely wrong: it is more than a handful of elements for one movie and the scenes don’t always fit perfectly, but none of it bothers too much to spoil your viewing. The movie is built around Deanna Durbin, the classic actress who was cast throughout the late 30s and 40s for her good looks and dito voice. Say what you want about Deanna, but she was versatile enough to appear in any sort of movie, from film noir (Christmas Holiday) to musical western (Can’t Help Singing). In almost all of her 22 movies, Durbin performed at least one song and Lady on a Train is no exception, but we’ll return to that later.
The poster on the left is not from the movie, but from the mystery book it was based on. The author is Leslie Charteris, whom you might know from his books about The Saint. This movie starts with Nicki Collins (Durbin) reading a thriller on the train, when suddenly she sees a real murder being committed. The police don’t believe because she’s still carrying around Wayne Morgan’s book The Case of the Headless Bride and suggest she’d better go and bother the author (David Bruce) with her alleged murder story… which she promptly does, much to the dismay of Morgan’s fiancee. At first, Morgan doesn’t want to believe her and Nicki starts to investigate things herself, bumping into the family of the deceased (a cast including Dan Duryea and Ralph Bellamy). The family mistake her for a nightclub singer the deceased had an affair with, which doesn’t make the plot convincing, but is a handy step-up to have Durbin sing more than one song.
Overall, Durbin’s character is quite a sassy young lady. The poor man her father hired to look after her (played by Edward Everett Horton, a comedy legend from the 30s) definitely has his hands full and certainly can’t seem to go home unscathed after a hard day’s work. All in all, the character of Nicki Collins looks like a barely legal version of Nancy Drew. By then, Durbin had become such a darling of the silver screen that the seductive scenes in the nightclub songs might not appear too risqué, but I don’t think a genuine nightclub artist would’ve gotten away with sitting on someone’s lap and stroking his head in such a way the man’s girlfriend leaves the place with slamming doors.
Something contemporary this 1945 movie seems to be a distinct relative of is the series Castle: not only is there lots more “will they won’t they” atmosphere around than what’s actually being shown, it’s also one of the few shows that managed to find itself a niche where it doesn’t really matter if the story is believable or not. The twists and quirkiness suffice you keep you hanging until the end. And if that’s not enough, there’s a scene where Deanna Durbin is on the phone to her father (while she’s unaware there’s someone in the house who’s trying to get some evidence back). It’s a scene that is completely different from the rest of the film, but it’s Deanna Durbin and you’ll forgive her anything. Especially on Christmas Eve.
Once again, there’s no room for the planned and/or promised updates, as it’s time to pay tribute to a recently and suddenly deceased director. This time that’s even to be read literally, because Japanese cult director Kôji Wakamatsuwas run over by a taxi. Some
sources claim it was no accident as Wakamatsu had claimed he wanted to make a critical movie about the nuclear company Tepco. Of course, that’s only speculation at best, but how fitting an ordered execution would be for such a director.
When these pages belonged to a cult review site, DV, Wakamatsu’s filmography was mentioned and discussed. One of the most overused expression was fitting for him: you either hated or loved him. Smutty pornographer to some, bleak observer to others, his movies didn’t leave most members unmoved. And whereas it’s true that some of his work was little more than pornographic (especially in the 1980s), the same could be said for Jean Rollin or Jess Franco, directors who did get to keep their medals of cult directors.
Make no mistake, The embryo hunts in secret (1966) is extreme cinema. Basically, it’s like watching a woman who’s constantly tortured by a man. Like Fifty Shades then, but bleaker, less eroticising and more stylistic. Well, a lot more stylistic.
Kôji Wakamatsu directed so many movies – his IMDb profile, which may not even be complete (but it’s hard sifting through the movies with countless titles) – clocked off at 105 titles. That’s more than a hundred titles for a director who didn’t do anything between 1997 and 2003, or indeed skipped a couple of other years too. By contrast, he managed to complete ten titles in 1964. (He debuted in 1963, at the age of 27.)
No wonder then that it’s sometimes hard to distinguish which movie you’re watching. There are so many and most carry his cinematographic style. When asked why his body of
work was often repetitive, the director answered: Because the basic theme is the same, because all my films deal with the same primal element – the fight against authoritarianism, the individual hate and revenge against authority and repression. That hate and revenge explode in lust and violence. Is this bad?”
Wakamatsu was also a producer and even made some of his fame there, being the executive producer of In the realm of the senses, Oshima‘s erotic classic. Oshima is a lot more known and a little less extreme than Wakamatsu, but if you like Oshima’s work, there’s a chance you’ll like Wakamatsu as well. (I had to think of Oshima’s Naked Youth a.k.a. Cruel story of youth the first time I watched a Wakamatsu movie.)
For a lot of Wakamatsu’s work you’ll have to rely on the internet as most of his movies aren’t out on DVD anywhere else than Japan. A couple of movies were released in the US,
such as the excellent Go, go, second time virgin or Ecstasy of the Angels (both Image) or The notorious concubines (SWV). If you manage to catch Italian channel RaiTre, the often excellent Fuori Orario is currently showing a weekend long of movies as a tribute to the late director. On the internet, MUBI has a page on him with more than 20 films which he either directed or produced.
To me, Wakamatsu’s work are more political than erotic, no matter how much sex there is in some of his exploitation movies. (Then again, I’ve only seen ten of his films, that’s less than 10% after all.) The low budget he often had forced him to limit locations, but it helped to make his films claustrophobic. His style allowed you to understand his movies even if you can’t speak a word of Japanese (check). One of his films is called Violence without a cause, which neatly sums up Wakamatsu’s body of work. You can find a lot of clips from his movies on YouTube, but I’ll leave you with the opening scene of Ecstasy of Angels, which shows Wakamatsu didn’t need sex or violence to know where to point his camera to.
“I don’t think much of critics, so naturally they don’t think much of me either.” (Kôji Wakamatsu, 1936-2012)