Hi Judith,
I'm not familiar with Journey to the West. Is that a book, fable or movie? Forbidden Kingdom will never be accused of being overly original, but at least they make up for that by instilling it with an energy and style that make it fun.
cinemalover: Confessions of a Video Junkie
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cinemalover
- Posts: 1594
- Joined: April 17th, 2007, 10:57 am
- Location: Seattle, Washington
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cinemalover
- Posts: 1594
- Joined: April 17th, 2007, 10:57 am
- Location: Seattle, Washington
Ghayal #529
Comcast is having a free preview of the Bollywood channel for a couple of weeks, which means I get to sample several films in a genre that I have had limited exposure to.
Date watched: 6/22/2008
Title: Ghayal (The Wounded) Made: 1990
Genre: Bollywood Action Studio: Eros Production
Format: DVD-R Source—Comcast Bollywood Channel
Number of times viewed: First
Director: Rajkumar Santoshi
Stars:
Sunny Deol—Ajay Mehra
Meenakshi Seshadri—Varsha Bharti
Amrish Pui—Balwant Rai
Moushami Chatterjee—Indu Mehra
Raj Babber—Ashok Mehra
Om Puri—Joe D’Souza
Kulbmushan Khabanda—Police Commissioner Ashok Predhan
Shafi Inamdar—Barrister Gupta
Brahmachari—Mohlley
Sharat Saxena—Dekka
Annu Kapoor—Drunkard
Viju Khote—Coach
I have seen a few Bollywood movies over the years (most notably Sholay, which is a highly touted western) and found them interesting, if not always exemplary. The tradition of including musical numbers into almost any genre takes some getting used to for those who have never experienced it, but it is one of those additions that helps make Bollywood productions rather unique. The first half hour (of the 163 minute run time) of this film started out with a few such numbers that expanded on the love between Ajay Mehra (Deol) and Varsha Bharti (Seshadri) as those two run around joyously singing to each other in music video surroundings. But then the film takes a completely different tact and turns into an action/revenge melodrama.
Ajay Mehra is a young boxer who shows promise (in some really poorly choreographed action shots in the ring) and is encouraged by his caring older brother, Ashok (Babber) to pursue the profession. Ashok is happily married to the loving Indu (Chatterjee), and the two look at Ajay more like a son than an equal. When Ashok disappears one day Ajay drops everything to find his brother. He learns that Ashok had some dealings with some disreputable characters and he soon ends up dead in Ajay’s arms.
Ajay’s life goes from tragic to unbearable as he is convicted of his brother’s murder as the police and courts are manipulated by the villainous Balwant Rai (Amrish Pui who is apparently well known as a Bollywood bad guy). Ajay makes friends while in prison (but hopefully not TOO friendly) and they decide to help him escape to wreck vengeance on the world. They mange to do this (rather easily) and Ajay and his rag-tag team set out to even up the score and prove that Rai was responsible for Ashok’s murder.
After failing to find the proof he needs to indict Rai, Ajay takes the drastic step of taking Police Commissioner Predhan (Khabanda) as a prisoner in his own home to use as leverage to get what he needs. There are several action scenes as Ajay and his men engage in gunfights with both the local authorities and with Rai’s gunmen.
Rai, tiring of the nuisance being caused by Ajay captures Varsha and takes her to his home, which is fortified like a war compound. Ajay turns into Rambo (emphasized with the poster art for the film which shows him holding smoking automatic weapons while sporting a dirty tank top) and assaults the compound. Bullets and explosions rule the day as our hero attempts to take down Rai and his personal army. The one honest cop in the force tries to weigh in on Ajay’s side, but it may be too little, too late.
Talk about a kitchen sink of a movie! It’s a love story between Ajay and Varsha, it’s a musical, it’s a prison drama, it’s a corrupt cop drama and it’s a violent vengefest! If they skipped anything it wasn’t for a lack of trying. The first half hour was starting to bore me to tears as I wasn’t expecting the mushy love story from the film’s outline, but once it got down to action (with a few minor belly dancing musical interludes) it was outrageously entertaining. The acting was of the “wide eyes mean I’m emoting” school, and the difference between seeing Sunny Deol singing love songs early in the film to seeing him ruthlessly murder bad guys towards the end is quite jarring, but somehow I enjoyed the experience. The action scenes were fairly well done and the stunts were wild, if not always convincing.
5* (out of 10) I would have edited the film down by about an hour to make a furiously paced action film, but this style obviously has its audience. As is the fast forward button was a friendly option.
Date watched: 6/22/2008
Title: Ghayal (The Wounded) Made: 1990
Genre: Bollywood Action Studio: Eros Production
Format: DVD-R Source—Comcast Bollywood Channel
Number of times viewed: First
Director: Rajkumar Santoshi
Stars:
Sunny Deol—Ajay Mehra
Meenakshi Seshadri—Varsha Bharti
Amrish Pui—Balwant Rai
Moushami Chatterjee—Indu Mehra
Raj Babber—Ashok Mehra
Om Puri—Joe D’Souza
Kulbmushan Khabanda—Police Commissioner Ashok Predhan
Shafi Inamdar—Barrister Gupta
Brahmachari—Mohlley
Sharat Saxena—Dekka
Annu Kapoor—Drunkard
Viju Khote—Coach
I have seen a few Bollywood movies over the years (most notably Sholay, which is a highly touted western) and found them interesting, if not always exemplary. The tradition of including musical numbers into almost any genre takes some getting used to for those who have never experienced it, but it is one of those additions that helps make Bollywood productions rather unique. The first half hour (of the 163 minute run time) of this film started out with a few such numbers that expanded on the love between Ajay Mehra (Deol) and Varsha Bharti (Seshadri) as those two run around joyously singing to each other in music video surroundings. But then the film takes a completely different tact and turns into an action/revenge melodrama.
Ajay Mehra is a young boxer who shows promise (in some really poorly choreographed action shots in the ring) and is encouraged by his caring older brother, Ashok (Babber) to pursue the profession. Ashok is happily married to the loving Indu (Chatterjee), and the two look at Ajay more like a son than an equal. When Ashok disappears one day Ajay drops everything to find his brother. He learns that Ashok had some dealings with some disreputable characters and he soon ends up dead in Ajay’s arms.
Ajay’s life goes from tragic to unbearable as he is convicted of his brother’s murder as the police and courts are manipulated by the villainous Balwant Rai (Amrish Pui who is apparently well known as a Bollywood bad guy). Ajay makes friends while in prison (but hopefully not TOO friendly) and they decide to help him escape to wreck vengeance on the world. They mange to do this (rather easily) and Ajay and his rag-tag team set out to even up the score and prove that Rai was responsible for Ashok’s murder.
After failing to find the proof he needs to indict Rai, Ajay takes the drastic step of taking Police Commissioner Predhan (Khabanda) as a prisoner in his own home to use as leverage to get what he needs. There are several action scenes as Ajay and his men engage in gunfights with both the local authorities and with Rai’s gunmen.
Rai, tiring of the nuisance being caused by Ajay captures Varsha and takes her to his home, which is fortified like a war compound. Ajay turns into Rambo (emphasized with the poster art for the film which shows him holding smoking automatic weapons while sporting a dirty tank top) and assaults the compound. Bullets and explosions rule the day as our hero attempts to take down Rai and his personal army. The one honest cop in the force tries to weigh in on Ajay’s side, but it may be too little, too late.
Talk about a kitchen sink of a movie! It’s a love story between Ajay and Varsha, it’s a musical, it’s a prison drama, it’s a corrupt cop drama and it’s a violent vengefest! If they skipped anything it wasn’t for a lack of trying. The first half hour was starting to bore me to tears as I wasn’t expecting the mushy love story from the film’s outline, but once it got down to action (with a few minor belly dancing musical interludes) it was outrageously entertaining. The acting was of the “wide eyes mean I’m emoting” school, and the difference between seeing Sunny Deol singing love songs early in the film to seeing him ruthlessly murder bad guys towards the end is quite jarring, but somehow I enjoyed the experience. The action scenes were fairly well done and the stunts were wild, if not always convincing.
5* (out of 10) I would have edited the film down by about an hour to make a furiously paced action film, but this style obviously has its audience. As is the fast forward button was a friendly option.
Last edited by cinemalover on June 25th, 2008, 9:32 am, edited 2 times in total.
Chris
The only bad movie is no movie at all.
The only bad movie is no movie at all.
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jdb1
Chris, I love Indian cinema, both the serious stuff and Bollywood. We have several Indian (they like to say South Asian) TV programs on the weekend here in NYC. When these first started to air, about 30 or so years ago, they used to show Indian movies with English subtitles, which is how I first got interested in them (and anyway, there is usually so much English-language dialog as well).
I saw the Oscar-nominated film Lagaan at the Film Forum a few years ago. Not too far into the film (it's not a musical) there was a musical number, and the full-house audience snickered a little. However, as the film went on, everyone really got into it (the music for this one is especially good), and at the end of the film, everyone applauded. Yes, it was a very long film, but that is the style in India, where not everyone owns a TV or even a radio, and they are used to a full night's entertainment from a movie or show. As you say, it just takes a little getting used to.
As for Journey to the West, according to Wiki, it was published in the 16th Century. The various tales of derring-do involving Monkey are probably older than that. About 10 or so years ago, one of the public cable stations ran a TV series of JTTW that was produced in China. I caught the first episode by accident while channel surfing, and I liked it so much I took in the entire series, which was pretty long. It's really excellent -- lots of martial arts, lots of hokey special effect, interesting cultural and historical facts -- very entertaining.
A Buddhist monk is asked by his abbot to go to India to get sacred texts which his monastery in China lacks. The monk appears to have been an actual person, but most his adventures have been magnified and fictionalized over time. The magical monkey/human WuKong accompanies and protects him, and there are other superhero types along for the ride as well. The monk travels through many diverse regions of China -- lots of ethnic costumes and dancing; very colorful.
The best part of all was when he got to India. When he crossed the border, in the mountains, he was greeted by a tribe of people who sang and danced for him. It was done in Bollywood style, the Chinese actors wearing big, false noses and black moustaches; the women with exaggerated noserings and lots of sequins. It was very un-PC, but hilarious.
I saw the Oscar-nominated film Lagaan at the Film Forum a few years ago. Not too far into the film (it's not a musical) there was a musical number, and the full-house audience snickered a little. However, as the film went on, everyone really got into it (the music for this one is especially good), and at the end of the film, everyone applauded. Yes, it was a very long film, but that is the style in India, where not everyone owns a TV or even a radio, and they are used to a full night's entertainment from a movie or show. As you say, it just takes a little getting used to.
As for Journey to the West, according to Wiki, it was published in the 16th Century. The various tales of derring-do involving Monkey are probably older than that. About 10 or so years ago, one of the public cable stations ran a TV series of JTTW that was produced in China. I caught the first episode by accident while channel surfing, and I liked it so much I took in the entire series, which was pretty long. It's really excellent -- lots of martial arts, lots of hokey special effect, interesting cultural and historical facts -- very entertaining.
A Buddhist monk is asked by his abbot to go to India to get sacred texts which his monastery in China lacks. The monk appears to have been an actual person, but most his adventures have been magnified and fictionalized over time. The magical monkey/human WuKong accompanies and protects him, and there are other superhero types along for the ride as well. The monk travels through many diverse regions of China -- lots of ethnic costumes and dancing; very colorful.
The best part of all was when he got to India. When he crossed the border, in the mountains, he was greeted by a tribe of people who sang and danced for him. It was done in Bollywood style, the Chinese actors wearing big, false noses and black moustaches; the women with exaggerated noserings and lots of sequins. It was very un-PC, but hilarious.
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cinemalover
- Posts: 1594
- Joined: April 17th, 2007, 10:57 am
- Location: Seattle, Washington
Judith,
I am fascinated to learn more about the Bollywood style of film. I've been able to record 20 films from the preview, so I'll be able to sample a bit of a variety. The oldest one dates from 1971 and the most recent is from 2007. Most of them seem to be primarily love stories (not my favorite genre) but there may be a few nuggets in there.
I am fascinated to learn more about the Bollywood style of film. I've been able to record 20 films from the preview, so I'll be able to sample a bit of a variety. The oldest one dates from 1971 and the most recent is from 2007. Most of them seem to be primarily love stories (not my favorite genre) but there may be a few nuggets in there.
Chris
The only bad movie is no movie at all.
The only bad movie is no movie at all.
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jdb1
Chris, a sample is the best way. I'm afraid when it comes to Bollywood, when you've seen one, you've seen them all, as far as plot and style. The earlier ones are more "Indian," and they got progressively more International as the years went on. Unfortunately, I find today's output more frantic and more heavily populated imitations of every MTv video every shown. I'm really getting tired of the format of the musical numbers: guy/girl in front and two or three dozen dancers in several neat lines behind. It's always the same. Oh, and listen for these words - you'll hear them over and over in the songs: peeyar (romantic love); dil (heart); dil meh (my heart); mehboob (sweetheart); larka (boy); larki (girl); shadi (marriage or husband). And I do mean over and over; and over; and over, and over, and . . . . . . .cinemalover wrote:Judith,
I am fascinated to learn more about the Bollywood style of film. I've been able to record 20 films from the preview, so I'll be able to sample a bit of a variety. The oldest one dates from 1971 and the most recent is from 2007. Most of them seem to be primarily love stories (not my favorite genre) but there may be a few nuggets in there.
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cinemalover
- Posts: 1594
- Joined: April 17th, 2007, 10:57 am
- Location: Seattle, Washington
Leon Errol Two-Reelers #530
Here’s a collection of vintage Leon Errol shorts assembled by VCI Entertainment….
Date watched: 6/21/2008
Title: Leon Errol: Two-Reeler Comedy Collection Made: 1938-51
Genre: Comedy Shorts Studio: RKO
Format: DVD Extras—Leon Errol Bio, Classic TV Previews.
Number of times viewed: First
Stars:
Leon Errol
Dorothy Granger
Harry Harvey
Jason Robards
Billy Franey
Maxine Jennings
William Brisbane
Anita Garvin
Walter Reed
Tagline: The man with the rubber legs.
This set includes the following shorts:
Dummy Owner 1938
His Pest Friend 1938
Bested By a Beard 1940
Man I Cured 1941
Framing Father 1942
Pretty Dolly 1942
Twin Husbands 1946
Bet Your Life 1948
Oil’s Well That Ends Well 1949
Lord Epping Returns 1951
The shorts total up to about 3 hours of entertainment.
Leon Errol, a short, balding everyman type, generally plays a henpecked husband who sets off a domino effect of troubling predicaments for himself through his actions. He usually has the best of intentions when trying to help a friend get out of a jam, unfortunately the scheme usually involves hiding something from his inquisitive wife, which is always his downfall. He is the master of the sour-reaction shot, freezing in said pose for lasting effect. While Leon is not an upper-tier comedian, he has his moments and gets an A for effort. I actually prefer him as the eccentric support character (see his work in the Mexican Spitfire series) over his work in these shorts. Here he is called upon to carry the show, which he’s not always up to, but in a feature film where his shenanigans can act as comic highlights around the star players he can be very productive. These shorts were a fun diversion for me as I had never seen them, but they are fairly light-weight and not all that memorable.
The shorts range form 1938 to 1951 when shorts were starting to run out of steam. In fact the short from 1951, Lord Epping Returns, recycles most of the jokes and situations from The Mexican Spitfire 1940. In both films Leon plays a dual role of Leon Errol (or Uncle Matt in Spitfire) and the upper crust drunk Lord Epping. In both scenarios Leon is trying to impress Lord Epping to get him to sign a business contract with his company. In both, the humor revolves around inviting Lord Epping to dine at the Errol home but for various reasons Errol has to imitate him, thinking he’s not going to show up. In the middle of Leon’s imitation the real Epping always shows up, while Leon is out of the room, and the two come and go never crossing paths. It’s a funny routine that shows off Errol’s ability to his best. And if you never caught the routine in The Mexican Spitfire (11 years earlier), it would be even funnier in the short.
Some humorous quotes:
Leon (very earnestly), “Now look dear, if I’m telling you a lie I hope I’m punished from above!”
A potted plot immediately slips off a ledge above him to crash land on his bald spot.
Leon’s boss evaluating his skills, “Sometimes I think you’re even too dumb to be a dummy!”
Leon, trying to slip into the house under the radar when he runs into his wife, “What are we going to have for dinner?”
Wife, “An argument!”
Errol, while trying to wriggle off the hook, “I’ve got to think this over!”
Wife, “With what?!”
Dorothy Granger often plays Mrs. Errol (Leon is almost always playing the character “Leon Errol”) and she has a nice contrasting chemistry with Errol. She stands taller than him and plays a very no-nonsense wife. It is not hard to believe that she can push him around at will. Most of Leon’s troubles are of his own doing and they usually start out as perfectly innocent adventures that take a wrong turn into stupidity.
5* (out of 10) I enjoyed these, they made me giggle if not laugh uproariously. I would like to see more companies release compilations of shorts by the same artist. It’s always fascinating to watch an actor develop over time through a series of shorts. Until then I’ll just have to thank TCM for their commitment to broadcasting shorts on a regular, if haphazard, basis.
Date watched: 6/21/2008
Title: Leon Errol: Two-Reeler Comedy Collection Made: 1938-51
Genre: Comedy Shorts Studio: RKO
Format: DVD Extras—Leon Errol Bio, Classic TV Previews.
Number of times viewed: First
Stars:
Leon Errol
Dorothy Granger
Harry Harvey
Jason Robards
Billy Franey
Maxine Jennings
William Brisbane
Anita Garvin
Walter Reed
Tagline: The man with the rubber legs.
This set includes the following shorts:
Dummy Owner 1938
His Pest Friend 1938
Bested By a Beard 1940
Man I Cured 1941
Framing Father 1942
Pretty Dolly 1942
Twin Husbands 1946
Bet Your Life 1948
Oil’s Well That Ends Well 1949
Lord Epping Returns 1951
The shorts total up to about 3 hours of entertainment.
Leon Errol, a short, balding everyman type, generally plays a henpecked husband who sets off a domino effect of troubling predicaments for himself through his actions. He usually has the best of intentions when trying to help a friend get out of a jam, unfortunately the scheme usually involves hiding something from his inquisitive wife, which is always his downfall. He is the master of the sour-reaction shot, freezing in said pose for lasting effect. While Leon is not an upper-tier comedian, he has his moments and gets an A for effort. I actually prefer him as the eccentric support character (see his work in the Mexican Spitfire series) over his work in these shorts. Here he is called upon to carry the show, which he’s not always up to, but in a feature film where his shenanigans can act as comic highlights around the star players he can be very productive. These shorts were a fun diversion for me as I had never seen them, but they are fairly light-weight and not all that memorable.
The shorts range form 1938 to 1951 when shorts were starting to run out of steam. In fact the short from 1951, Lord Epping Returns, recycles most of the jokes and situations from The Mexican Spitfire 1940. In both films Leon plays a dual role of Leon Errol (or Uncle Matt in Spitfire) and the upper crust drunk Lord Epping. In both scenarios Leon is trying to impress Lord Epping to get him to sign a business contract with his company. In both, the humor revolves around inviting Lord Epping to dine at the Errol home but for various reasons Errol has to imitate him, thinking he’s not going to show up. In the middle of Leon’s imitation the real Epping always shows up, while Leon is out of the room, and the two come and go never crossing paths. It’s a funny routine that shows off Errol’s ability to his best. And if you never caught the routine in The Mexican Spitfire (11 years earlier), it would be even funnier in the short.
Some humorous quotes:
Leon (very earnestly), “Now look dear, if I’m telling you a lie I hope I’m punished from above!”
A potted plot immediately slips off a ledge above him to crash land on his bald spot.
Leon’s boss evaluating his skills, “Sometimes I think you’re even too dumb to be a dummy!”
Leon, trying to slip into the house under the radar when he runs into his wife, “What are we going to have for dinner?”
Wife, “An argument!”
Errol, while trying to wriggle off the hook, “I’ve got to think this over!”
Wife, “With what?!”
Dorothy Granger often plays Mrs. Errol (Leon is almost always playing the character “Leon Errol”) and she has a nice contrasting chemistry with Errol. She stands taller than him and plays a very no-nonsense wife. It is not hard to believe that she can push him around at will. Most of Leon’s troubles are of his own doing and they usually start out as perfectly innocent adventures that take a wrong turn into stupidity.
5* (out of 10) I enjoyed these, they made me giggle if not laugh uproariously. I would like to see more companies release compilations of shorts by the same artist. It’s always fascinating to watch an actor develop over time through a series of shorts. Until then I’ll just have to thank TCM for their commitment to broadcasting shorts on a regular, if haphazard, basis.
Chris
The only bad movie is no movie at all.
The only bad movie is no movie at all.
-
cinemalover
- Posts: 1594
- Joined: April 17th, 2007, 10:57 am
- Location: Seattle, Washington
Hey Bryce,
Doogie Howser, huh? Nice pull! Presumably he was inserted to make those American teenagers more comfortable with an otherwise foreign cast, always a weak choice by filmmakers that can only lessen the final product.
The sets were nice eye-candy and the plot was, well, at least it provided many excuses for extensive action pieces which were the highlight of the film. A pocorn flick for sure, fluffly like cotton candy and with about the same substance, dissolving quickly from existence after consumption.
Doogie Howser, huh? Nice pull! Presumably he was inserted to make those American teenagers more comfortable with an otherwise foreign cast, always a weak choice by filmmakers that can only lessen the final product.
The sets were nice eye-candy and the plot was, well, at least it provided many excuses for extensive action pieces which were the highlight of the film. A pocorn flick for sure, fluffly like cotton candy and with about the same substance, dissolving quickly from existence after consumption.
Chris
The only bad movie is no movie at all.
The only bad movie is no movie at all.
-
cinemalover
- Posts: 1594
- Joined: April 17th, 2007, 10:57 am
- Location: Seattle, Washington
Stryker #531
Returning to the Grindhouse Experience Volume 2 we find a real stinker...
Date watched: 6/22/2008
Title: Stryker (Savage Dawn) Made: 1983
Genre: Action Studio: HCI International
Format: DVD Extras—FS, Dubbed.
Number of times viewed: First
Director: Cirio H. Santiago
Stars:
Steve Sandor—Stryker
Andrea Savio—Dehla
Mike Lane—Kardis
William Ostrander—Bandit
Tony Carreon
Julie Gray—Lauren
John Harris—Olric
Ken Metcalfe—Trun
Monique St. Pierre—Cerce
Biff Yeager—Biff
Joseph Zucchero—Bazil
Taglines:
Their odds are a million to one. And Stryker’s the one!
After the holocaust, nothing matters but survival!
Opening narration:
“The last war began in error. Whose error, nobody knows. Nor does it matter any more. Nothing matters now, other than survival. The nuclear holocaust wiped out all semblance of rhyme and reason, cities obliterated, farmlands devastated. The ecology imbalanced and all that is left is a parched and arid wasteland, a scorched seething Earth. Where what little water there is, is horded and kept under heavy guard. For water is power and whoever controls the water, controls the world!”
There’s plenty for Max to be Mad about if he were to catch a glimpse of this low-rent rip-off of the Road Warrior series. On display are dunes full of sand, souped-up vehicles, automatic weapons, butt-ugly bad guys and leather-clad warriors (under the blazing sun). Sound familiar? This formula has been used continuously since the success of the Mel Gipson films, the only difference in this one is that they’re fighting over water instead of petrol.
There is a secret spring of water that is carefully guarded by a group of “Amazon” female warriors. The Amazons wear slinky leather bikini bottoms and shirts that leave little to the imagination (and must lead to some painful sunburns). They allow a few select males to be part of their society. Their enemies are rough-looking leather bound dudes (think Hell’s Angels) who try to discover the whereabouts of the spring so that they can take it for themselves. These villains are led by Kardis (Lane) who hates everything, even himself. Stryker (Sandor) is the local hero who chooses to be a loner until he gets unwillingly drawn into the conflict.
Kardis and his boys capture Dehla (Savio) and attempt to force her to reveal the secret water location, as well as attempting to force her into other undesirable activities. Enter Stryker, who knows and likes Dehla. Stryker wears spiked gloves and drives a sporty Mustang. His skin is as is as tanned and tough as the leather vest that he wears. He goes after Kardis to rescue Dehla, they strike back to recapture her. Then they engage in an all out assault against the Amazons and their friends when they discover the location of the spring. Ho-humm.
Much of the film’s run time is filled with extended chase scenes that seem to go on for patience-numbing ever that are filled with little or no dialogue or real purpose. With all the chasing, no matter how far they may appear to be traveling, they always end up in the same spot, a sand filled gravel pit. The pit is shot from every conceivable angle to make it feel even bigger than it is, yet it is still much to obvious to even a casual observer. The bad guys have a couple of Army surplus tanks that they tool around in, which leads to the most amusing scene in which a band of nomad pygmies sward the a tank like ants on a picnic basket.
There are a few semi-exciting action bits, but they aren’t enough to stir you from the coma that the rest of the film has sentenced you to. This the cinematic equivalent of an A-Team rerun. Shot on the cheap in the Philippines, it doesn’t take advantage of any of the islands natural beauty, settling on confining itself to a single locale.
2* (out of 10) The electronic score, which may have felt somewhat fresh at the time, now just makes me curse the success of Chariots of Fire with its mind numbing repetition.
This is the 15th film from this 20 film set. This is a definite thumbs down, leaving our score at 9 ups and 6 downs.
Date watched: 6/22/2008
Title: Stryker (Savage Dawn) Made: 1983
Genre: Action Studio: HCI International
Format: DVD Extras—FS, Dubbed.
Number of times viewed: First
Director: Cirio H. Santiago
Stars:
Steve Sandor—Stryker
Andrea Savio—Dehla
Mike Lane—Kardis
William Ostrander—Bandit
Tony Carreon
Julie Gray—Lauren
John Harris—Olric
Ken Metcalfe—Trun
Monique St. Pierre—Cerce
Biff Yeager—Biff
Joseph Zucchero—Bazil
Taglines:
Their odds are a million to one. And Stryker’s the one!
After the holocaust, nothing matters but survival!
Opening narration:
“The last war began in error. Whose error, nobody knows. Nor does it matter any more. Nothing matters now, other than survival. The nuclear holocaust wiped out all semblance of rhyme and reason, cities obliterated, farmlands devastated. The ecology imbalanced and all that is left is a parched and arid wasteland, a scorched seething Earth. Where what little water there is, is horded and kept under heavy guard. For water is power and whoever controls the water, controls the world!”
There’s plenty for Max to be Mad about if he were to catch a glimpse of this low-rent rip-off of the Road Warrior series. On display are dunes full of sand, souped-up vehicles, automatic weapons, butt-ugly bad guys and leather-clad warriors (under the blazing sun). Sound familiar? This formula has been used continuously since the success of the Mel Gipson films, the only difference in this one is that they’re fighting over water instead of petrol.
There is a secret spring of water that is carefully guarded by a group of “Amazon” female warriors. The Amazons wear slinky leather bikini bottoms and shirts that leave little to the imagination (and must lead to some painful sunburns). They allow a few select males to be part of their society. Their enemies are rough-looking leather bound dudes (think Hell’s Angels) who try to discover the whereabouts of the spring so that they can take it for themselves. These villains are led by Kardis (Lane) who hates everything, even himself. Stryker (Sandor) is the local hero who chooses to be a loner until he gets unwillingly drawn into the conflict.
Kardis and his boys capture Dehla (Savio) and attempt to force her to reveal the secret water location, as well as attempting to force her into other undesirable activities. Enter Stryker, who knows and likes Dehla. Stryker wears spiked gloves and drives a sporty Mustang. His skin is as is as tanned and tough as the leather vest that he wears. He goes after Kardis to rescue Dehla, they strike back to recapture her. Then they engage in an all out assault against the Amazons and their friends when they discover the location of the spring. Ho-humm.
Much of the film’s run time is filled with extended chase scenes that seem to go on for patience-numbing ever that are filled with little or no dialogue or real purpose. With all the chasing, no matter how far they may appear to be traveling, they always end up in the same spot, a sand filled gravel pit. The pit is shot from every conceivable angle to make it feel even bigger than it is, yet it is still much to obvious to even a casual observer. The bad guys have a couple of Army surplus tanks that they tool around in, which leads to the most amusing scene in which a band of nomad pygmies sward the a tank like ants on a picnic basket.
There are a few semi-exciting action bits, but they aren’t enough to stir you from the coma that the rest of the film has sentenced you to. This the cinematic equivalent of an A-Team rerun. Shot on the cheap in the Philippines, it doesn’t take advantage of any of the islands natural beauty, settling on confining itself to a single locale.
2* (out of 10) The electronic score, which may have felt somewhat fresh at the time, now just makes me curse the success of Chariots of Fire with its mind numbing repetition.
This is the 15th film from this 20 film set. This is a definite thumbs down, leaving our score at 9 ups and 6 downs.
Chris
The only bad movie is no movie at all.
The only bad movie is no movie at all.
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cinemalover
- Posts: 1594
- Joined: April 17th, 2007, 10:57 am
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The Cheyenne Social Club #532
Date watched: 6/22/2008
Title: The Cheyenne Social Club Made: 1970
Genre: Western/Comedy Studio: National General Pictures
Format: DVD Extras—The Good Time Girls Featurette, Trailer, Anamorphic WS.
Number of times viewed: 4
Director: Gene Kelly
Stars:
James Stewart—John O’Hanlan
Henry Fonda—Harley Sullivan
Shirley Jones—Jenny
Sue Ane Langdon—Opal Ann
Elaine Devry—Pauline
Robert Middleton—Barkeep
Arch Johnson—Marshal Anderson
Dabbs Greer—Jedidiah W. Willowby
Jackie Russell—Carrie Virginia
Jackie Joseph—Annie Jo
Sharon DeBord—Sara Jean
Richard Collier—Nathan Potter
Charles Tyner—Charlie Bannister
Jean Wilkes—Alice
Robert J. Wilke—Corey Bannister
Taglines:
Where the West was really made!
They made their own laws at the Cheyenne Social Club.…no wonder everyone’s dying to get in!
Story: Two middle-aged cowpunchers are rather dissatisfied with their lot in life, yet instead of doing anything to alter their pattern they find themselves back on another cattle drive at the beginning of each spring in the Lone Star state. John is the quiet reflective one of the pair, while Harley is a motor mouth that can ramble on endlessly. Their lives take a dramatic turn when John receives a letter that sets him to pack up his gear and head for Cheyenne, but he never mentions why he’s going there. Harley mindlessly follows him, possibly because he’s afraid he might lose the only pair of ears that never tires of his ceaseless jabbering. But long days on the trail can wear on the best of men, forcing John to finally speak his mind.
John, “Do you know where we are now, Harley?”
Harley, “Not exactly.”
John, “We’re in Wyoming Territory! I wouldn’t mention it but you’ve been talking all the way from Texas.”
Harley (innocently), “I just been keeping you company, John.”
John, “I appreciate it, Harley. And I don’t mind it too much for the first hundred miles, but Harley, you’ve been talkin’ for a thousand miles!”
When finally arriving at Cheyenne we learn that John’s brother, D.J., had died and left The Cheyenne Social club to John. John was completely unaware of what type of establishment it was until he’s informed that it is a Grade A brothel, complete with a living “inventory”. The Club is the most popular social hangout for the men of Cheyenne, or as Harley observes, “This place is busier than a Kansas City stockyard.”
The idea of running a brothel goes against John’s conservative morale grain. He quickly decides that he wants to shut the place down until he figures out what to do with the property. This would require that he fire all the girls and send them on their ways. This becomes more difficult as he gets to know the very friendly girls who are led by Jenny (Jones). He has difficulties getting all the girls together to make an announcement as they are each so popular and don’t have a ton of down time. He settles on the breakfast table, but even that is a challenge.
John announces his business decision, “I’m closing the house until I decide what to do with it. Listen, this just isn’t my line of work.”
The girls are stunned at the thought of losing their jobs.
Jenny (fighting back the tears), “You’re not the late D.J.’s brother, the late D.J. had a heart!” All six girls storm out of the room bawling.
John follows up with Jenny, trying to soften the blow of his statement.
John, “I’m cut from a different bolt of cloth.”
Jenny (playing up her disappointment), “Burlap, that’s what you’re made of!”
But these girls know how to get their way and they all chip in to use their powers of persuasion to change John’s mind. Harley seems to be the lucky recipient of these charms more often than not. John is a good soul by nature and he begins to feel guilty for threatening to turn out the girls. John turns to Harley for advice, the one thing that Harley never runs short of. In the long-winded response John is amazed to learn that Harley had been married at one point.
Harley, “John, it ain’t something I like to talk about (this is a small category indeed), but I was married once. And once is enough for any man. You can’t smoke, chew, dip, drink, scratch in the parlor or cuss!”
When word circulates around town that John has shut the doors on the Cheyenne Social Club he is shunned and hated by every man in town. In their minds he has put a “historical monument” out of business. This animosity leads to a massive bar fight which lands John behind bars. Harley comes to visit his friend in jail who is most confused about the violent reaction to his actions.
John, “Harley, you’d think I’d a closed down the Alamo!”
John’s life gets further complicated after his release when lawyer Willowby (Greer), who had been handling D.J.’s affairs, informs John that the land that the Club sits on was sold to the railroad. D.J. had made an agreement with the railroad execs that as long as the girls stayed on the property the house could stay, if they were to leave then John would lose the property. As John is pondering his options he comes home to find out that his favorite girl, Jenny, has been badly beaten up by one of the patrons. John angrily straps on a gun, even though he’s not particularly good with one. He has come to care for Jenny much more than he’d like to admit.
John learns that it was Corey Bannister (Wilke) that abused Jenny and John finds him at the town bar. Corey is a real bad-a** from a tough family that has a reputation for bullying townsfolk. As one man later tells John, “They’re as tough as tiger spit!” Harley has also shadowed John to the bar as he always does. John gets in position to draw as Corey turns to face him. Just as the grab their guns Harley loudly cracks the pecans that he’s constantly chewing on. The cracking noise distracts Corey at the crucial moment which allows John to gun him down.
John wins the battle but has put himself in position to lose the war. It won’t take long for word to get out to the Bannister family which will bring them flocking for revenge. Harley urges John to pack up and high-tail it before he gets a bullet in his back. John refuses to run, he feels an obligation to stay and protect the girls. Harley feels the need to protect himself and rides out.
When the Banister clan arrives they are led by the ornery old cuss, Charlie Banister (Tyner). He and his boys surround the Club, ventilated it with bullets and buckshot. John and the girls are inside, fighting for their lives and firing back.
Charlie’s invitation to John, “Hey, O’Hanlan, c’mon out! We’re gonna have a party!”
I don’t think John or the girls will be enjoying this celebration.
The concept of the movie, two stumble-bums basically winning the lottery of a very profitable brothel that could set them up comfortably for life, is used to examine the morale questions that accompany it. Harley is the type that takes everything as it comes, makes no commitments, and is ready to run as soon as the times get tough. He has no ambitions to speak of in his life. John is bothered by the concept of “owning” a business that contradicts his biblical mentality. This “gift” causes him more pain than pleasure. Even when he obviously falls in love with Jenny, he forces himself to keep his distance as his internal struggles multiply. What is staged as a potential comedy weighs itself down with high ambitions without properly integrated the two paths.
The chemistry between Stewart and Fonda is as good as it should be with professionals of this caliber. Fonda’s character tends to be very understated and some of the wry comments he has, or key observations he makes are underplayed to the point of being lost in the shuffle. The film has its moments, but every time it starts to pick up momentum it seems to falter. It is sprinkled with sweetly humorous moments but they never are strung together to garner a sustained laugh. A comedy that only raises to the level of an occasional chuckle or a morale tale that interrupts its message with divergent directions, you decide.
5* (out of 10) The film is always mildly entertaining, but falls short of what it could have been. Director Kelly would have been better served more fully committing to one direction or the other, instead his movie ends up wallowing in mid-stream.
Title: The Cheyenne Social Club Made: 1970
Genre: Western/Comedy Studio: National General Pictures
Format: DVD Extras—The Good Time Girls Featurette, Trailer, Anamorphic WS.
Number of times viewed: 4
Director: Gene Kelly
Stars:
James Stewart—John O’Hanlan
Henry Fonda—Harley Sullivan
Shirley Jones—Jenny
Sue Ane Langdon—Opal Ann
Elaine Devry—Pauline
Robert Middleton—Barkeep
Arch Johnson—Marshal Anderson
Dabbs Greer—Jedidiah W. Willowby
Jackie Russell—Carrie Virginia
Jackie Joseph—Annie Jo
Sharon DeBord—Sara Jean
Richard Collier—Nathan Potter
Charles Tyner—Charlie Bannister
Jean Wilkes—Alice
Robert J. Wilke—Corey Bannister
Taglines:
Where the West was really made!
They made their own laws at the Cheyenne Social Club.…no wonder everyone’s dying to get in!
Story: Two middle-aged cowpunchers are rather dissatisfied with their lot in life, yet instead of doing anything to alter their pattern they find themselves back on another cattle drive at the beginning of each spring in the Lone Star state. John is the quiet reflective one of the pair, while Harley is a motor mouth that can ramble on endlessly. Their lives take a dramatic turn when John receives a letter that sets him to pack up his gear and head for Cheyenne, but he never mentions why he’s going there. Harley mindlessly follows him, possibly because he’s afraid he might lose the only pair of ears that never tires of his ceaseless jabbering. But long days on the trail can wear on the best of men, forcing John to finally speak his mind.
John, “Do you know where we are now, Harley?”
Harley, “Not exactly.”
John, “We’re in Wyoming Territory! I wouldn’t mention it but you’ve been talking all the way from Texas.”
Harley (innocently), “I just been keeping you company, John.”
John, “I appreciate it, Harley. And I don’t mind it too much for the first hundred miles, but Harley, you’ve been talkin’ for a thousand miles!”
When finally arriving at Cheyenne we learn that John’s brother, D.J., had died and left The Cheyenne Social club to John. John was completely unaware of what type of establishment it was until he’s informed that it is a Grade A brothel, complete with a living “inventory”. The Club is the most popular social hangout for the men of Cheyenne, or as Harley observes, “This place is busier than a Kansas City stockyard.”
The idea of running a brothel goes against John’s conservative morale grain. He quickly decides that he wants to shut the place down until he figures out what to do with the property. This would require that he fire all the girls and send them on their ways. This becomes more difficult as he gets to know the very friendly girls who are led by Jenny (Jones). He has difficulties getting all the girls together to make an announcement as they are each so popular and don’t have a ton of down time. He settles on the breakfast table, but even that is a challenge.
John announces his business decision, “I’m closing the house until I decide what to do with it. Listen, this just isn’t my line of work.”
The girls are stunned at the thought of losing their jobs.
Jenny (fighting back the tears), “You’re not the late D.J.’s brother, the late D.J. had a heart!” All six girls storm out of the room bawling.
John follows up with Jenny, trying to soften the blow of his statement.
John, “I’m cut from a different bolt of cloth.”
Jenny (playing up her disappointment), “Burlap, that’s what you’re made of!”
But these girls know how to get their way and they all chip in to use their powers of persuasion to change John’s mind. Harley seems to be the lucky recipient of these charms more often than not. John is a good soul by nature and he begins to feel guilty for threatening to turn out the girls. John turns to Harley for advice, the one thing that Harley never runs short of. In the long-winded response John is amazed to learn that Harley had been married at one point.
Harley, “John, it ain’t something I like to talk about (this is a small category indeed), but I was married once. And once is enough for any man. You can’t smoke, chew, dip, drink, scratch in the parlor or cuss!”
When word circulates around town that John has shut the doors on the Cheyenne Social Club he is shunned and hated by every man in town. In their minds he has put a “historical monument” out of business. This animosity leads to a massive bar fight which lands John behind bars. Harley comes to visit his friend in jail who is most confused about the violent reaction to his actions.
John, “Harley, you’d think I’d a closed down the Alamo!”
John’s life gets further complicated after his release when lawyer Willowby (Greer), who had been handling D.J.’s affairs, informs John that the land that the Club sits on was sold to the railroad. D.J. had made an agreement with the railroad execs that as long as the girls stayed on the property the house could stay, if they were to leave then John would lose the property. As John is pondering his options he comes home to find out that his favorite girl, Jenny, has been badly beaten up by one of the patrons. John angrily straps on a gun, even though he’s not particularly good with one. He has come to care for Jenny much more than he’d like to admit.
John learns that it was Corey Bannister (Wilke) that abused Jenny and John finds him at the town bar. Corey is a real bad-a** from a tough family that has a reputation for bullying townsfolk. As one man later tells John, “They’re as tough as tiger spit!” Harley has also shadowed John to the bar as he always does. John gets in position to draw as Corey turns to face him. Just as the grab their guns Harley loudly cracks the pecans that he’s constantly chewing on. The cracking noise distracts Corey at the crucial moment which allows John to gun him down.
John wins the battle but has put himself in position to lose the war. It won’t take long for word to get out to the Bannister family which will bring them flocking for revenge. Harley urges John to pack up and high-tail it before he gets a bullet in his back. John refuses to run, he feels an obligation to stay and protect the girls. Harley feels the need to protect himself and rides out.
When the Banister clan arrives they are led by the ornery old cuss, Charlie Banister (Tyner). He and his boys surround the Club, ventilated it with bullets and buckshot. John and the girls are inside, fighting for their lives and firing back.
Charlie’s invitation to John, “Hey, O’Hanlan, c’mon out! We’re gonna have a party!”
I don’t think John or the girls will be enjoying this celebration.
The concept of the movie, two stumble-bums basically winning the lottery of a very profitable brothel that could set them up comfortably for life, is used to examine the morale questions that accompany it. Harley is the type that takes everything as it comes, makes no commitments, and is ready to run as soon as the times get tough. He has no ambitions to speak of in his life. John is bothered by the concept of “owning” a business that contradicts his biblical mentality. This “gift” causes him more pain than pleasure. Even when he obviously falls in love with Jenny, he forces himself to keep his distance as his internal struggles multiply. What is staged as a potential comedy weighs itself down with high ambitions without properly integrated the two paths.
The chemistry between Stewart and Fonda is as good as it should be with professionals of this caliber. Fonda’s character tends to be very understated and some of the wry comments he has, or key observations he makes are underplayed to the point of being lost in the shuffle. The film has its moments, but every time it starts to pick up momentum it seems to falter. It is sprinkled with sweetly humorous moments but they never are strung together to garner a sustained laugh. A comedy that only raises to the level of an occasional chuckle or a morale tale that interrupts its message with divergent directions, you decide.
5* (out of 10) The film is always mildly entertaining, but falls short of what it could have been. Director Kelly would have been better served more fully committing to one direction or the other, instead his movie ends up wallowing in mid-stream.
Chris
The only bad movie is no movie at all.
The only bad movie is no movie at all.
-
cinemalover
- Posts: 1594
- Joined: April 17th, 2007, 10:57 am
- Location: Seattle, Washington
The Great Jesses James Raid #533
Date watched: 6/26/2008
Title: The Great Jesse James Raid Made: 1953
Genre: Western Studio: Ray Lippert Pictures
Format: DVD Extras—Trailer.
Number of times viewed: First
Director: Reginald Le Borg
Stars:
William Parker—Jesse James aka Tom Howard
Barbara Woodell—Zee James
Jim Bannon—Bob Ford
Richard cutting—Sam Wells
Tom Neal—Arch Clements
Wallace Ford—Elias Hobbs
Babrbara payton—Kate
James Anderson—Johnny Dorette
Taglines:
Untold story of….the Great Jesse James Raid!
Filmed in New Ansco Color!
Story: Jesse James (Parker) has retired with his wife, Zee (Woodell), under the assumed name of Tom Howard. All he wants now is a peaceful life without having to look over his shoulder every waking second. There is still a $10,000 reward posted on Jesse’s head, and when you’ve been in the spotlight as much as Jesse has, the past never goes away. He’s always only one old acquaintance away from having his cover blown. The day he constantly fears comes to light when Bob Ford (Bannon) comes knocking on his door. Bob and his associates have a big scheme in mind that needs Jesse’s connections in order to succeed.
Bob tells Jesse of the saloon that he runs in Creede, Colorado. He gets rich off of the salary of all the miners who work in the Big Bob Mine, which has the “richest diggings around”. But Bob knows it’s just a matter of time before the mine runs dry and Bob is not a patient man. He wants a big payoff now. The mine stores its gold until Wells Fargo makes its monthly pick-up to transport the gold to the mint in Denver. Bob plans on stealing the gold shipment just prior to its scheduled pick-up, which he estimates will be close to $300,000. Bob pleads with the reluctant Jesse to throw in with him and make himself a rich man. Jesses ponders long and hard and even listens to the stern protests of his wife, Zee.
Ultimately he decides that the profits from the job would allow him to move his family to parts unknown to live out an uninterrupted life.
Jesse to an upset Zee, “I can’t turn my back on this chance for our freedom!”
Jesse rounds up the missing pieces for the team by contacting gunman Arch Clement (Tom “If I only could’ve controlled my temper maybe I would have had a better career” Neal) and demolition man Elias Hobbs (Ford). The group all rendezvous at Bob’s saloon in Creede. Once there Bob’s girl, Kate (Payton) is added to the mix. Bob offers the boys all the hospitalities his saloon has to offer, from booze to girls. Elias, the old codger of the group tells Jesse that he smells a rat, that they are being treated like, “calves getting fattened for the slaughter.” Jesses doesn’t say anything, but he keeps his eyes open and his mind alert.
The robbery involves an elaborate plan to blow a hole in the back of the mountain that the mine is in and then access a stream that runs through the mountain and follow it to the area of the mine that the gold is secured in. They plan on packing the gold out this newly created back door while all the guards are concentrating on the main entrance.
The men get to the hard work of digging and planting TNT to work into the stone of the mountain. The hard work, and barren conditions leave poor Elias in a state of despair without access to a bar.
Elias, “I hope this all works out. I can’t take another day of drinking water!”
Bob is a very greedy man and he won’t be satisfied with just the gold. He also wants that $10,000 reward money for Jesse. He plans on betraying his former friend as soon as the opportunity presents itself, that is, once the gold has been acquired. Now, will Jesses see this betrayal coming or will he go up in smoke like the dynamite.
A slow moving western tale that features a lot of talk and very little action. It’s really a chore to get to the final reel which does showcase a decent shoot-out, but it’s too little, too late. The charisma in the film could be measured with a teaspoon and the actors seem to be mailing it in. Nothing to distinguish itself from hundreds of similar genre efforts except the grandiose robbery scheme, which is more discussed than seen. The lack of action made this short film feel epic in length. If truth in advertising applies this film should be titled. The Tedious Jesse James Raid!
3* (out of 10) A lower-bill oater played out in all earnestness. Some good outdoor locations help give a slightly larger feel to its miniscule budget. Surprisingly filmed in color (or New Ansco Color as the poster seems very proud to proclaim).
Title: The Great Jesse James Raid Made: 1953
Genre: Western Studio: Ray Lippert Pictures
Format: DVD Extras—Trailer.
Number of times viewed: First
Director: Reginald Le Borg
Stars:
William Parker—Jesse James aka Tom Howard
Barbara Woodell—Zee James
Jim Bannon—Bob Ford
Richard cutting—Sam Wells
Tom Neal—Arch Clements
Wallace Ford—Elias Hobbs
Babrbara payton—Kate
James Anderson—Johnny Dorette
Taglines:
Untold story of….the Great Jesse James Raid!
Filmed in New Ansco Color!
Story: Jesse James (Parker) has retired with his wife, Zee (Woodell), under the assumed name of Tom Howard. All he wants now is a peaceful life without having to look over his shoulder every waking second. There is still a $10,000 reward posted on Jesse’s head, and when you’ve been in the spotlight as much as Jesse has, the past never goes away. He’s always only one old acquaintance away from having his cover blown. The day he constantly fears comes to light when Bob Ford (Bannon) comes knocking on his door. Bob and his associates have a big scheme in mind that needs Jesse’s connections in order to succeed.
Bob tells Jesse of the saloon that he runs in Creede, Colorado. He gets rich off of the salary of all the miners who work in the Big Bob Mine, which has the “richest diggings around”. But Bob knows it’s just a matter of time before the mine runs dry and Bob is not a patient man. He wants a big payoff now. The mine stores its gold until Wells Fargo makes its monthly pick-up to transport the gold to the mint in Denver. Bob plans on stealing the gold shipment just prior to its scheduled pick-up, which he estimates will be close to $300,000. Bob pleads with the reluctant Jesse to throw in with him and make himself a rich man. Jesses ponders long and hard and even listens to the stern protests of his wife, Zee.
Ultimately he decides that the profits from the job would allow him to move his family to parts unknown to live out an uninterrupted life.
Jesse to an upset Zee, “I can’t turn my back on this chance for our freedom!”
Jesse rounds up the missing pieces for the team by contacting gunman Arch Clement (Tom “If I only could’ve controlled my temper maybe I would have had a better career” Neal) and demolition man Elias Hobbs (Ford). The group all rendezvous at Bob’s saloon in Creede. Once there Bob’s girl, Kate (Payton) is added to the mix. Bob offers the boys all the hospitalities his saloon has to offer, from booze to girls. Elias, the old codger of the group tells Jesse that he smells a rat, that they are being treated like, “calves getting fattened for the slaughter.” Jesses doesn’t say anything, but he keeps his eyes open and his mind alert.
The robbery involves an elaborate plan to blow a hole in the back of the mountain that the mine is in and then access a stream that runs through the mountain and follow it to the area of the mine that the gold is secured in. They plan on packing the gold out this newly created back door while all the guards are concentrating on the main entrance.
The men get to the hard work of digging and planting TNT to work into the stone of the mountain. The hard work, and barren conditions leave poor Elias in a state of despair without access to a bar.
Elias, “I hope this all works out. I can’t take another day of drinking water!”
Bob is a very greedy man and he won’t be satisfied with just the gold. He also wants that $10,000 reward money for Jesse. He plans on betraying his former friend as soon as the opportunity presents itself, that is, once the gold has been acquired. Now, will Jesses see this betrayal coming or will he go up in smoke like the dynamite.
A slow moving western tale that features a lot of talk and very little action. It’s really a chore to get to the final reel which does showcase a decent shoot-out, but it’s too little, too late. The charisma in the film could be measured with a teaspoon and the actors seem to be mailing it in. Nothing to distinguish itself from hundreds of similar genre efforts except the grandiose robbery scheme, which is more discussed than seen. The lack of action made this short film feel epic in length. If truth in advertising applies this film should be titled. The Tedious Jesse James Raid!
3* (out of 10) A lower-bill oater played out in all earnestness. Some good outdoor locations help give a slightly larger feel to its miniscule budget. Surprisingly filmed in color (or New Ansco Color as the poster seems very proud to proclaim).
Chris
The only bad movie is no movie at all.
The only bad movie is no movie at all.
-
cinemalover
- Posts: 1594
- Joined: April 17th, 2007, 10:57 am
- Location: Seattle, Washington
Dead Eyes of London #534
I found another Krimi thriller through Sinister Cinema’s drive-in double features…
Date watched: 6/24/2008
Title: Dead Eyes of London (Die Toten Augen von London) Made: 1961
Genre: Krimi Studio: Rialto Film
Format: DVD-R Extras—FS, Dubbed.
Number of times viewed: First
Stars:
Joachim Fuchsberger—Inspector Manny Holden
Karin Baal—Nora Ward
Dieter Burssche—David Judd aka Mr. Lennox aka Reverend Dearborn
Woldgang Lukschy—Stephan Judd
Eddi Arent—Sergeant “Sunny” Harvey
Ann Savo—Fanny Weldon
Bobby Todd—Lew Norris
Franz Schafheitlin—Sir John
Ady Berber—Blind Jake
Harry Wustenhagen—Flimmer Fred
Rudolf Fenner—Matt Blake
Hans Paetsch—Gordon Scott
Ida Ehre—Ella Ward
Fritz Schroder-Jahn—Chief Inspector
Klaus Kinski—Mr. Strauss
Taglines:
Danger lurks everywhere as killers seek their victims from every street, alley and doorway!
From the macabre mystery by Edgar Wallace.
A city of fear becomes a city of death!
The story: In the bizarre world of Edgar Wallace demented villains sprout up like weeds throughout the lawns of London and the poor representatives of Scotland Yard are often without an adequate supply of weed-killer. The current dilemma, several well-insured men have turned up dead, their bodies found floating in the Thames. It seems unlikely that these could all be accidents.
Inspector Manny Holden (Fuchsberger) is assigned to the case and struggles to find a connection between the bodies to convince his boss that something is terribly amiss.
Holden listing the details of the cases, “Always a foggy night. Always men who wear glasses and can be easily attacked. And always rich men from abroad without a family in England.”
Sir John (Holden’s boss at Scotland Yard), “If you had the slightest shred of evidence, Manny….but you haven’t. All you have to go on is suspicion.”
There was a piece of rope that was found on the body, but they weren’t sure if it was on the body when it was dumped in the river or if it was already in the water. Then a scrap of paper was discovered in a suit pocket of the most recent victim. It appears to have a series of holes punched into it, which they deduce to be brail. Inspector Holden brings in Nora Ward (Baal), a brail expert, to read the note. The message is incomplete but gives Holden enough of a clue so that he thinks he knows who may be behind the murders. The clue points to the organization known in sensationalized headlines as the Blind Killers of London.
Holden, “They’re a band of thieves and killers, blind peddlers, who commit crimes in the dead of night. Especially in fog to take advantage of others!”
Inspector Holden is assisted in the case by Sergeant Harvey who is nicknamed “Sunny”. Holden has mentally targeted Blind Jake (Berber) as a likely suspect, but he can’t track him down through his normal channels. It seems that Blind Jake is intentionally in hiding. The latest victim has been identified as Richard Porter and he apparently had recently taken out a life insurance policy with the Greenwich Insurance Company which is run by Mr. Judd (Lukschy). Holden interviews Judd, but learns nothing of any value.
We first see Blind Jake as he is operating out of a basement, and is obviously up to no good. He is a hulk of a man with forearms and hands as hairy as a werewolf in the full moon. His pupils are glossed over and all white, adding an even creepier element to Jake’s appearance. There is a dead body in his “workshop” resting on a table. Jake is assisted by his trembling and unwilling helper, Lou, who is also blind. Lou wants the killing to stop but is deathly afraid of Jake and his temper. Somehow, Lou finally works up the courage to say something to the angry giant.
Lou (his voice shuddering), “I’m not going to help anymore! I’ll put a stop to all this! I’ll go to the police!”
Jake’s massive hands follow Lou’s voice to his throat where they clamp on like a humongous vice. He then puts his face, cheek to cheek, with his fellow sight-deprived accomplice and rumbles, “Once you join up with me, pal, you stay!”
There is a definite finality to his words as he caresses Lou’s cheek with his hairy paws, before delivering a swift and powerful back-hand to his face. Jake returns his attention to the dead man. He has stripped it of any form of identification and of course, any valuables. He is preparing him on a chute which will momentarily launch the lifeless body into the Thames. Before he does, Lou punches a series of holes into a piece of paper and slips it into the pocket of the victim. Another brail note attempting to stop the madness.
Cut back to Mr. Judd, whom we learn is being blackmailed because his brother, who is now deceased but whom used to run the insurance company, did some very disreputable things when he was in charge. If his activities came to light it would ruin the company’s reputation. Somehow his blackmail is connected to the men turning up as floaters on a regular basis. Then Fanny Weldman (Savo) shows up, claiming to have been Judd’s brother’s lover. She wants a piece of the pie as well. Judd agrees to her demands but then she turns up dead in her apartment after a visit form the mysterious Mr. Straus (Klaus Kinski in a minor but eerie role, perfectly suited to his bug-eyed and somewhat tinged look).
When the latest corpse torpedo is discovered, Holden finds another piece of rope on the body. This time he concludes that it must have been used to tie something onto the body to make it sink in the river. But what would be heavy enough to weigh the body down and then just disappear? From residue on the rope Holden figures out that it must have been a block of salt! This clue helps him narrow the possible points of origin for the victims. Scotland Yard is on the case.
Nora Ward, the brail expert, has gotten too close to the truth and has put herself in danger. She is also connected to the killings as she is unknowingly the illegitimate daughter of one of the victims. When she tries to help Holden crack the case she finds herself in need of help and in the path of danger at the home of the blind. The Reverend (Burssche) who runs the place is an awfully shady character and figures in the crimes somehow.
Multiple plots overlapping that reveal killers behind killers. The motives are as clear as a foggy London night. Inspector Holden must cobble together the divergent clues to see if he can put the brakes on the serial killings. This is a convoluted tale told in a ghastly yet entertaining manner. This is true pulp-action brought to life on the big screen. This is the third film based on the works of Wallace that I’ve watched recently and they have several things in common. Amongst them are bizarre villains, brutal murders and incredibly layered plots that don’t always hold up to logical examination. But they are always fascinating to watch. This one is sprinkled with nice little touches throughout: Mr. Judd has a full-sized skull on his desk (of a life insurance company) that pops up to be a cigarette holder, Sergeant “Sunny” knits, and is proud of it. Then there is a TV counsel that when it is opened fires bullets into the person in front of the TV (that would cut down on your hours in front of the tube). When a man looks into a peephole his eye is greeted with a bullet and there is a sealed vat that is used to drown people in. What more could you ask for from a film? Imaginative and deadly.
7* (out of 10) Gritty crime drama that delivers the goods. Thrilling and macabre environment in which the strange seems normal.
Date watched: 6/24/2008
Title: Dead Eyes of London (Die Toten Augen von London) Made: 1961
Genre: Krimi Studio: Rialto Film
Format: DVD-R Extras—FS, Dubbed.
Number of times viewed: First
Stars:
Joachim Fuchsberger—Inspector Manny Holden
Karin Baal—Nora Ward
Dieter Burssche—David Judd aka Mr. Lennox aka Reverend Dearborn
Woldgang Lukschy—Stephan Judd
Eddi Arent—Sergeant “Sunny” Harvey
Ann Savo—Fanny Weldon
Bobby Todd—Lew Norris
Franz Schafheitlin—Sir John
Ady Berber—Blind Jake
Harry Wustenhagen—Flimmer Fred
Rudolf Fenner—Matt Blake
Hans Paetsch—Gordon Scott
Ida Ehre—Ella Ward
Fritz Schroder-Jahn—Chief Inspector
Klaus Kinski—Mr. Strauss
Taglines:
Danger lurks everywhere as killers seek their victims from every street, alley and doorway!
From the macabre mystery by Edgar Wallace.
A city of fear becomes a city of death!
The story: In the bizarre world of Edgar Wallace demented villains sprout up like weeds throughout the lawns of London and the poor representatives of Scotland Yard are often without an adequate supply of weed-killer. The current dilemma, several well-insured men have turned up dead, their bodies found floating in the Thames. It seems unlikely that these could all be accidents.
Inspector Manny Holden (Fuchsberger) is assigned to the case and struggles to find a connection between the bodies to convince his boss that something is terribly amiss.
Holden listing the details of the cases, “Always a foggy night. Always men who wear glasses and can be easily attacked. And always rich men from abroad without a family in England.”
Sir John (Holden’s boss at Scotland Yard), “If you had the slightest shred of evidence, Manny….but you haven’t. All you have to go on is suspicion.”
There was a piece of rope that was found on the body, but they weren’t sure if it was on the body when it was dumped in the river or if it was already in the water. Then a scrap of paper was discovered in a suit pocket of the most recent victim. It appears to have a series of holes punched into it, which they deduce to be brail. Inspector Holden brings in Nora Ward (Baal), a brail expert, to read the note. The message is incomplete but gives Holden enough of a clue so that he thinks he knows who may be behind the murders. The clue points to the organization known in sensationalized headlines as the Blind Killers of London.
Holden, “They’re a band of thieves and killers, blind peddlers, who commit crimes in the dead of night. Especially in fog to take advantage of others!”
Inspector Holden is assisted in the case by Sergeant Harvey who is nicknamed “Sunny”. Holden has mentally targeted Blind Jake (Berber) as a likely suspect, but he can’t track him down through his normal channels. It seems that Blind Jake is intentionally in hiding. The latest victim has been identified as Richard Porter and he apparently had recently taken out a life insurance policy with the Greenwich Insurance Company which is run by Mr. Judd (Lukschy). Holden interviews Judd, but learns nothing of any value.
We first see Blind Jake as he is operating out of a basement, and is obviously up to no good. He is a hulk of a man with forearms and hands as hairy as a werewolf in the full moon. His pupils are glossed over and all white, adding an even creepier element to Jake’s appearance. There is a dead body in his “workshop” resting on a table. Jake is assisted by his trembling and unwilling helper, Lou, who is also blind. Lou wants the killing to stop but is deathly afraid of Jake and his temper. Somehow, Lou finally works up the courage to say something to the angry giant.
Lou (his voice shuddering), “I’m not going to help anymore! I’ll put a stop to all this! I’ll go to the police!”
Jake’s massive hands follow Lou’s voice to his throat where they clamp on like a humongous vice. He then puts his face, cheek to cheek, with his fellow sight-deprived accomplice and rumbles, “Once you join up with me, pal, you stay!”
There is a definite finality to his words as he caresses Lou’s cheek with his hairy paws, before delivering a swift and powerful back-hand to his face. Jake returns his attention to the dead man. He has stripped it of any form of identification and of course, any valuables. He is preparing him on a chute which will momentarily launch the lifeless body into the Thames. Before he does, Lou punches a series of holes into a piece of paper and slips it into the pocket of the victim. Another brail note attempting to stop the madness.
Cut back to Mr. Judd, whom we learn is being blackmailed because his brother, who is now deceased but whom used to run the insurance company, did some very disreputable things when he was in charge. If his activities came to light it would ruin the company’s reputation. Somehow his blackmail is connected to the men turning up as floaters on a regular basis. Then Fanny Weldman (Savo) shows up, claiming to have been Judd’s brother’s lover. She wants a piece of the pie as well. Judd agrees to her demands but then she turns up dead in her apartment after a visit form the mysterious Mr. Straus (Klaus Kinski in a minor but eerie role, perfectly suited to his bug-eyed and somewhat tinged look).
When the latest corpse torpedo is discovered, Holden finds another piece of rope on the body. This time he concludes that it must have been used to tie something onto the body to make it sink in the river. But what would be heavy enough to weigh the body down and then just disappear? From residue on the rope Holden figures out that it must have been a block of salt! This clue helps him narrow the possible points of origin for the victims. Scotland Yard is on the case.
Nora Ward, the brail expert, has gotten too close to the truth and has put herself in danger. She is also connected to the killings as she is unknowingly the illegitimate daughter of one of the victims. When she tries to help Holden crack the case she finds herself in need of help and in the path of danger at the home of the blind. The Reverend (Burssche) who runs the place is an awfully shady character and figures in the crimes somehow.
Multiple plots overlapping that reveal killers behind killers. The motives are as clear as a foggy London night. Inspector Holden must cobble together the divergent clues to see if he can put the brakes on the serial killings. This is a convoluted tale told in a ghastly yet entertaining manner. This is true pulp-action brought to life on the big screen. This is the third film based on the works of Wallace that I’ve watched recently and they have several things in common. Amongst them are bizarre villains, brutal murders and incredibly layered plots that don’t always hold up to logical examination. But they are always fascinating to watch. This one is sprinkled with nice little touches throughout: Mr. Judd has a full-sized skull on his desk (of a life insurance company) that pops up to be a cigarette holder, Sergeant “Sunny” knits, and is proud of it. Then there is a TV counsel that when it is opened fires bullets into the person in front of the TV (that would cut down on your hours in front of the tube). When a man looks into a peephole his eye is greeted with a bullet and there is a sealed vat that is used to drown people in. What more could you ask for from a film? Imaginative and deadly.
7* (out of 10) Gritty crime drama that delivers the goods. Thrilling and macabre environment in which the strange seems normal.
Chris
The only bad movie is no movie at all.
The only bad movie is no movie at all.
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cinemalover
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The 1939 British film (released in 1940 in the US) is based on the same Edgar Wallace novel about bodies in the Thames connected to the insurance company and a school for the blind. Lugosi is terrific as the villain, and apart from a Chicago policeman who is studying Scotland Yard methods, the rest of the cast is good. the film is a little-known treat for Lugosi fans. (I rented it from Facets multimedia several years ago.)