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Monday, October 31, 2011

First-Time Viewings (October, 2011)

I spent a lot of time in October watching a number of the new fall television shows, and catching up with some old favorites, so I didn't screen as many films as usual. I only ended up seeing a few on the big-screen and, of those, I was only really taken with Paranormal Activity 3.

Of the older films I watched the best were mostly documentaries, including the magnificent and moving Koko: A Talking Gorilla, the groundbreaking works Before and After Stonewall, Melvin Van Peebles' important Classified X, the awesome Machete Maidens Unleashed and the surprisingly moving look at the rise and fall of Plato's Retreat, American Swing. I was disappointed with the No-Wave documentary Kill Your Idols as I felt it concentrated way too much on newer bands that in actuality have very little in common with such trailblazing acts as Teenage Jesus and the Jerks, Mars and Sonic Youth.

Stepping away from documentaries I did watch some good narrative-based features including Joe Sarno's infectious A Touch of Genie, Jean Rollin's haunting final work Mask of Medusa, the Laura inspired Fiona on Fire, the chilling British Classic My Name is Julie Ross and the uber-strange French shocker Sheitan.

My favorite non-documentary films I saw for the first time in October were, fittingly, thrillers. I was really taken with Adam Green's Frozen, a work that is everything Danny Boyle's dreadful 127 Hours should have been, and was blown away by The Human Centipede (First Sequence), a truly original and wonderfully composed shocker that stands with the great works of horror I have seen in the past several years. I also greatly enjoyed Red Riding: In the Year of Our Lord 1974 and am looking forward to watching the next two films in that trilogy in November.
The worst films I sat through in October were also horror films and the included the dreadful Bloodlust Zombies (which totally wastes Alexis Texas), the by the numbers Last Resort and the jaw-dropping bad Tintorera: Killer Shark.

Here's the complete lists for those interested and, as always, consider anything with a 3-star rating or more as a recommendation.

A Touch of Genie ***1/2
After Stonewall ****1/2
American Swing ****1/2
Before Stonewall ****1/2
Bloodlust Zombies *
Fiona on Fire ***1/2
Frozen ****1/2
Kill Your Idols ***
Kingdom of Shadows: The Rise of the Horror Film ****
Koko: A Talking Gorilla *****
Mask of Medusa ****
Machete Maidens Unleashed! ****1/2
Melvin Van Peebles Classified X *****
My Name is Julia Ross ****
New Years Evil ***
One-Eyed Monster ***
Red Riding: In the Year of Our Lord 1974 ****1/2
Sheitan ***1/2
Tales that Witness Madness ***
Tamara Drewe ***1/2
The Human Centipede (First Sequence) ****1/2
The Last Resort *1/2
The Sentinel (1977) ***
Tintorera: Killer Shark *1/2

2011 FILMS

Dream House **1/2
Munger Road **1/2
Paranormal Activity 3 ***1/2

Friday, October 28, 2011

Maria McKee in After the Triumph of Your Birth

Maria McKee, one of my all-time favorite musicians and writers, has recently turned her attention to the world of film and I wanted to supply some information on the project here. After the Triumph of Your Birth is an upcoming Independent feature from first-time writer and director Jim Akin, a talented artist whom I know via his co-production and co-songwriting duties on some of Maria's greatest albums. Starring Tom Dunne, Tessa Ferrer, Rob Zabrecky, Dean Ogle, Maria Doyle Kennedy, Kristina Nekyia, Sari LeSueur and McKee (who also provides the film's soundtrack), After the Triumph of Your Birth has been described as a, "a surreal, dark humored portrait of the outsider", that uses, "a forgotten Los Angeles as a backdrop", for, "four story lines (that) converge in a film that examines the crossover between desperation and tenderness." The just-recently released trailer is extremely intriguing and it promises a film as thought-provoking as it is visually dazzling.

Maria McKee has been a personal hero of mine since I discovered her band Lone Justice in the eighties shortly after their first LP hit the stores. Maria's music and writing has been hugely influential to me both professionally and personally, so I am thrilled to see her working on a film although I am not surprised, as she has always been one of the most cinematic of all of the post-punk American songwriters. After all, this is an artist who kick-started her explosive and uncompromising career singing a song called "East of Eden".

I have no doubt After the Triumph of Your Birth will be among the most fascinating and valuable American films on the horizon and I can't wait to see it. In the meantime, I invite everyone to check out its official page and join along on the journey by liking it over at its Facebook page.


Wednesday, October 26, 2011

Machete Maidens Unleashed! Now Streaming at Netflix

The terrific Machete Maidens Unleashed!, the follow-up to Not Quite Hollywood from director Mark Hartley, is now streaming over at Netflix and I hardly recommend it to everyone reading. Whereas the incredible Not Quite Hollywood focused on Australia's wild exploitation movies, Machete Maidens Unleashed! is focused on the many Filipino genre films of the '70s and '80s. Featuring an extraordinary number of interviews with everyone from the most prolific filmmakers to the many actors and actresses that appeared in the dizzying number of films shot in this period, Machete Maidens Unleashed! is fun and powerful work that solidifies Hartley as one of the best documentary directors on film around. While the interviews with familiar faces such as John Landis and Roger Corman are very welcome, Hartley really scores by getting everyone from Margaret Markov to Eddie Garcia to sit down for his camera. Like Not Quite Hollywood, Machete Maidens Unleashed! is an incredibly informative and entertaining experience that will prove eye-opening to even the most jaded cult film-fans. Netflix subscribers should head over now and give this terrific film a look. The DVD from Dark Sky will be avaliable on November 1st.

Monday, October 24, 2011

Jean Rollin's The Iron Rose

Perhaps no other major production in Jean Rollin's career has divided fans more than 1973's La Rose de fer. The film, known alternately as The Iron Rose and as The Crystal Rose, is seen by some as one of Rollin's greatest achievements, a haunting poetic production that shows the director at his minimal best, while others, turned off by Rollin's abandoning of his usual Vampiric elements, find the film a failure, and at best a bore. Regardless of one's opinion of the work, two things are for certain, The Iron Rose is one of Jean Rollin's most personal projects, and its failure in 1973 changed the direction of his career drastically.

Jean Rollin was looking for a change in early 1973 after a string of films cornered him into being known as just a maker of erotic vampire films. He recalled to Peter Blumenstock in the pages of Video Watchdog and Virgins and Vampires that, "it was very important for (him) to make a very serious, profound film, far away from the softcore stuff" he had become infamous for. He would go onto to recall that The Iron Rose began life as short story he published earlier in a French publication and, like Rollin's best work, the film retains that strong literary backbone throughout its extremely slim running time.

The Iron Rose, which Rollin admitted to Blumenstock was destined to be a "commercial disaster" from the outset, was financed completely by the ambitious filmmaker even though he knew he, "would never get (the money) back." The fact that Rollin was risking complete financial ruin with a project destined for critical and popular failure makes him a brave, admirable and downright inspiring figure in an industry known for its greed and all around obsession on the dollar.

Of course, Jean Rollin is a smart man and a deal he made before beginning the four week production schedule on The Iron Rose eased his financial troubles but it did cause a shift in his filmmaking career. Rollin admitted to Blumenstock that, "with a safety net in mind" he accepted a deal with Impex Films to, "direct six or seven hardcore films in the next couple of years" under the Gentil and Xavier pseudonyms. So essentially, Rollin was willing to possibly sacrifice the next few years of his artistic life for The Iron Rose, which he told Blumenstock was a project he, "loved very much" and that it was far and away his, "most personal effort."

The Iron Rose is among the most minimal modern films one could possibly imagine. Outside of an opening party sequence and a few scattered one scene appearances throughout the work, the film only features two characters. The storyline, centering on two young lovers finding themselves lost in a huge expansive old cemetery, is so spare that it is nearly non-existent. In his introduction to the film in Virgins and Vampires Rollin admitted that what interested him about the film was the notion of, "a woman's dramatic self-destruction", and that ultimately it was, "a dark and desperate film." Less a successful modern narrative film and more of a poignant tragic poetic work more akin to silent cinema, The Iron Rose is a remarkable work that grows more and more resonate with each passing year. Like Lou Reed's Berlin, that also came out in 1973, The Iron Rose is a work made by an artist not looking to satisfy the time it is in, but is instead looking to transcend it.

Shot in the near deserted city of Amiens, production on The Iron Rose was fraught with difficulties. Rollin had problems throughout the shoot with male star Hughes Quester and was never fully happy with female star Francoise Pascal, even though she finally turns in one of the greatest performances in any Jean Rollin film. The cemetery Rollin chose proved to be an inspired choice though and he recalled in Virgins and Vampires that he, "fun shooting in the cemetery. Wherever we put the camera we immediately found an angle" and that, "a sense of depth was created in the environment of tombs and old iron crosses." He also pointed out that the film proved to be perfect for regular collaborator Jean-Jacques Renon who found the work like, "an animated painting."

While the film features basically only Quester and Pascal, a few familiar Rollin actors pop up. Michele Delesalle can be briefly seen and Requiem for a Vampire co-star Mireille Dargent appears playing what very well might be the ghost of her character in Requiem. Rollin himself also pops ups in a cameo as does regular behind the scenes collaborator Nathalie Perrey, delivering a performance Rollin recalled as very 'moving'. Regarding Nathalie's tearful performance, Rollin pointed out that the tears were apparently for real as she, "had just learned of (French actor) Rene Chauffard’s death" and the film's dedication to him reflects this fact.

Rollin completed his masterful film within the four week shooting schedule and decided to present it to the public at the 2nd Annual Convention of the Fantastique in Paris in mid 1973. Cathal Tohill and Pete Tombs wrote on the film's disastrous reception in their essential book Immoral Tales. The film historian's wrote, "The place was packed with French Horror fans" and that Rollin knew he was in trouble when, "The film had hardly begun before the walk-outs commenced. Pretty soon it was obvious that he had a disaster on his hands." The problems didn't end with the intital screening as the critics had their knives sharpened for Rollin and that, "Cinematographe recounted how both he and his film had been roundly booed by the audience, in a way that the writer had never seen a director booed before." Tohill and Tombs went on to write that, "Rollin was devastated" and, "for the next few years Rollin was unable to find backers for any of his personal projects."

I must admit that the more I revisit The Iron Rose, the closer it comes to becoming my favorite Jean Rollin film. It is technically the most imperfect of his early works, with several continuity problems plaguing it, but despite these relatively minor issues I find the film to be an extraordinary and powerful work fueled by Rollin's unbelievable dedication and artistic skill, Jean-Jacques Renon's bold lighting, the eerie and striking score of Pierre Raph, and the strange and quite majestic leading performance of Francoise Pascal. Rollin's film of, "a passionate love that can not be found" is one of his most daring and is admittedly not for everyone. I suspect though that the absolute heart and spirit of Jean Rollin as an artist can be found in the sequences of Francoise Pascal alone in this film, deliriously lost and entranced by something from the past...something that we perhaps cannot see, but that Jean Rollin is able to make us feel.

The Iron Rose has unfortunately not been given the special edition treatment awarded to many of Jean Rollin's other key works. It is available from Redemption in the US in a fairly solid if unspectacular print, and several European versions are out as well, although none of them to my knowledge feature any real film specific extras.

Turner Classic Movies will be premiering the new HD version of The Iron Rose on November 11th! This article originally appeared at my Rollin tribute blog, Fascination: The Jean Rollin Experience.

The Iron Rose on Turner Classic Movies!!!

The new HD version of Jean Rollin's The Iron Rose will be making its premiere on Turner Classic Movies on November 11th! To say this is huge news is putting it mildly, as this will help introduce the work of Jean Rollin to a huge new audience. More information can be found here at TCM. Also, I am very pleased to present these screengrabs from the stunning new transfer! Thanks to Kino and TCM for helping to get one of Jean Rollin's greatest works to a new audience.

Saturday, October 22, 2011

Blue Underground's New Fulci Releases Drop Tuesday

Just a quick reminder that Blue Underground's new Special Edition DVDs and Blu-rays of Lucio Fulci's Zombie and House by the Cemetery will be avalible this Tuesday October 25th. More info. on these incredible releases can be found here.

Friday, October 21, 2011

Kino Lorber Acquires Redemption and Announces Jean Rollin on Blu-ray!

In what is among the most exciting Jean Rollin related news to come out in quite awhile, Kino Lorber announced yesterday that they have acquired the Redemption Catalogue here in the states and their first releases will be five of Rollin's greatest on Blu-ray in the spring of 2012. The Nude Vampire, The Shiver of the Vampires, The Iron Rose, Lips of Blood and Fascination will be the first to hit Blu in newly remastered versions transferred from the original negatives! All will include new extras and these promise to be finest Jean Rollin presentations ever on home video. More details can be read over at Twitch Film and I will of course be covering these exciting new releases as they hit in the upcoming months!


Lou Reed and Metallica's Lulu is Now Streaming!

Lulu is now streaming in its entirety over at Lou Reed and Metallica's official site. The album hits stores here in the States on November, 1st.

Friday, October 14, 2011

A Jean Rollin Auction

A kind reader has alerted me to the news that Jean Rollin's son Serge is holding an auction, that will be of interest to all of Rollin's fans, in Paris in early November at this address and time:

Résidence les Lilas
69 rue Haxo
75020 Paris
(metro Saint-Fargeau or Télégraphe)
Code : 837B
Building 12, 9th floor on the right

November 5th and 6th from 10 a.m to 6 p.m.

The auction will include some of Jean's personal possessions, movie-memorabilia, books, furniture and even actual film strips from The Grapes of Death! I hope that any readers here who might attend will stop by and share more information with us. I have posted a flyer above that was emailed to me advertising it and I will post more info. as I get it.

The Road Leads to Nowhere: Pasquale Festa Campanile's Hitch-Hike (1977)

A mesmerizing work from Italian director Pasquale Festa Campanile, 1977's Autostop rosso sangue (Hitch-Hike) is an unforgettable, if still relatively unknown, production that stands as one of the late-seventies most unique films. Driven by Campanile’s economical, and yet stylish, direction Hitch-Hike benefits greatly from three truly wonderful performances by a trio of undervalued actors: Franco Nero, Corinne Clery and David Hess. A road-movie, set in the States but filmed in Italy, driven by one of Ennio Morricone’s greatest scores, Hitch-Hike is as smart as the great art-house films of the seventies and as down and dirty as the period’s best exploitation films.

It’s probably not the best time for husband and wife Walter and Eve Mancini to take a cross-country road trip, as the couple has entered a stage in their relationship where they clearly can’t stand each other. They are on the road already though so there is really no going back and this is especially true when the couple pick up a stranded motorist, a deranged man who makes their already volatile trip a deadly one.

Pasquale Festa Campanile was nearing his fiftieth birthday when he shot Hitch-Hike in the early part of 1977. Campanile had been directing fairly prolifically since the early sixties but he was still probably best know for his screenwriting skills which included two of Visconti’s greatest works, Rocco and His Brothers (1960) and The Leopard (1963). Campanile, who passed away in 1986, remains an undervalued figure in Italian film history but it’s hard to imagine anyone watching Hitch-Hike who will be less than impressed by his considerable skill behind the camera.

Campanile shares the screenwriting credit of Hitch-Hike with frequent collaborator Ottavio Jemma and Aldo Crudo, one of the men responsible for the extraordinary Chi Sei a few years earlier. The screenwriting trio were working from a novel by Peter Kane and their script is intelligent, as well as viciously funny, and it serves as a real showcase for each one of the film’s three iconic actors, all whom deliver superlative performances.

Franco Nero had just wrapped the haunting Keoma when he shot Hitch-Hike and as burned-out writer Walter Mancini he gives one of his greatest and most powerful performances. Silent much of the time, Nero exudes a menacing cool throughout Hitch-Hike and he’s remarkable to watch. He’s also physically devastating to look at and you would be hard-pressed to find an actor who had as much talent and beauty as Nero did in this period.

Wild-eyed and maniacal, David Hess matches Franco Nero’s controlled work with a hot-wire unhinged performance that serves as an interesting companion role to his Krug in The Last House on the Left (1972) and Alex in House on the Edge of the Park (1980). Nobody could play madness with the kind of intensity and odd-charm like David Hess and he’s incredibly electrifying in Hitch-Hike. Watching his great work today it is hard to not feel regret that he wasn’t given more opportunities in his career but at least he closed it out with one of his essential performances, in the marvelous Smash-Cut (2009).

The biggest surprise in Hitch-Hike is the work of luminous Corinne Clery, a mostly underused actress who delivers a brutally complex and wonderfully alive performance for Campanile. One of the most beautiful actresses of the seventies, the French-born Clery is probably best-known for her work in powerful The Story of O (1975) and the uber-cheesy Moonraker (1979). Clery’s looks were justifiably celebrated but her chops as an actor were almost always overlooked, and Hitch-Hike is one of the few films where she really got a chance to show what she was capable of. She is terrific in the film and easily holds her own against her two charismatic and intense leading men.

Clery isn't the only great beauty in the film as knockout cult-figure Monica Zanchi also makes a quick, but memorable, appearance early on in the film. More information on the lovely Zanchi can be found at my friend David's terrific Tomb it May Concern for those interested.

While Hitch-Hike is a sharply written, directed and performed film, much of its lasting power comes from the extraordinary score by the great Ennio Morricone. The score for Hitch-Hike is mind-boggingly great and it stands as one of the maestro’s most essential soundtracks. Campanile’s film would have been a great one with another composer but Morricone’s involvement elevates it to masterpiece level and as the haunting ending of the film plays out it is impossible to imagine more fitting music.

Hitch-Hike has been available for the better part of the last decade on an excellent DVD from Anchor-Bay. Uncut and featuring a sharp looking anamorphic widescreen transfer, the Anchor-Bay disc also includes a terrific documentary entitled The Devil Thumbs a Ride that features interviews with all three of the film's iconic stars. It can be found on the cheap over at Amazon and it, like the film, is highly recommended.

Moon in the Gutter (Month By Month)

BLOG CREATED, EDITED and WRITTEN BY JEREMY RICHEY: Began in DEC 2006. The written content of all posts (excepting quotes from reviews, books, other publications) COPYRIGHT JEREMY RICHEY.