Classic Horror Month Quick Picks and Pans

The Demon Barber of Fleet Street (1936) Tod Slaughter stars as Sweeney Todd, the legendary 19^th century barber who enjoyed giving his customers a really close shave. Beside the requisite morbid themes, the film is surprisingly funny thanks to Slaughter’s spirited portrayal. Rather than being depicted as a tortured soul with a tragic past, he enjoys his work. Slaughter (Could there be a better name for a horror actor?) seems to relish every minute as the infamous serial killer, gleefully talking about “polishing off” his clients, with a twinkle in his eye. Not to be missed.

Rating: ****. Available on Blu-ray (included in The Criminal Acts of Tod Slaughter box set) and DVD 

Diary of a Madman (1963) Based on the stories of Guy de Maupassant, Diary of a Madman is told in flashback, tracing the events leading up to the death of Magistrate Simon Cordier (Vincent Price). Price is excellent as the tormented Cordier, who has the misfortune of crossing paths with a Horla, an invisible, malevolent being. Much like the condemned criminal he sentenced to death, he’s compelled to murder against his will. Can anything or anyone stop the bloodthirsty Horla? Tune in and find out. 

Rating: ****. Available on Blu-ray, DVD and Tubi

Horrors of the Black Museum (1959) Michael Gough stars as Edmond Bancroft, a true-crime author who delights in staying one step ahead of Scotland Yard. He keeps a secret museum devoted to torture and killing in his basement. Meanwhile, he directs his obedient assistant to carry out his dirty work. One of the dubious pleasures of this movie is wondering what creative death awaits his next victim. Warning: You may not want to use binoculars again after watching this. 

Rating: ***½. Available on Blu-ray and DVD

The White Reindeer (1952) In this supernatural tale from Finland, by director/co-writer Erik Blomberg, the beautiful witch Pirita (Mirjami Kuosmanen) marries handsome reindeer herder Aslak (Kalervo Nissilä). The nature of his work calls him away from home more than she’d prefer, so the restless witch casts a spell that makes her irresistible to herdsmen (including her husband). She transforms into a white reindeer, roaming the snowy countryside, killing men that are attracted to her. The stark white Lapland landscape not only serves as a backdrop for the story, but takes on a role as its own unique character. 

Rating: ***½. Available on Blu-ray, DVD and Tubi

 

The Screaming Skull (1958) Widower Eric Whitlock (John Hudson), whose former wife died under mysterious circumstances, marries Jenni (Peggy Webber) an emotionally fragile (and wealthy) woman. Soon after they move into his deceased wife’s home, Jenni begins to see and hear strange occurrences, leading her to believe the dead wife has come back to haunt her. Only Mickey (Alex Nicol), the childlike, reclusive gardener, seems to know what’s going on. The plot and gaslighting theme are nothing new, but the performances are quite good, and it has its fun little creepy moments. 

Rating: ***. Available on Blu-ray, DVD, Prime Video and Tubi

 

Supernatural (1933) A convicted serial killer, Ruth Rogan (Vivienne Osborne) is executed, but before her sentence is carried out, a psychologist (H.B. Warner) seeks her consent to use her body for an experiment. While a fake spiritualist (Alan Dinehart) tries to con Roma, a young woman (Carole Lombard) who’s inherited a fortune from her deceased brother, the killer’s consciousness enters her mind. The possessed Roma promptly sets out for revenge against the spiritualist, who’s also Ruth’s former lover. Supernatural packs a lot in its brief 61-minute running time, although it falls a bit short on chills or logic (why Rogan arbitrarily decides to leave Roma’s body is beyond me). 

Rating: ***. Available on Blu-ray and DVD

The Frozen Dead (1966) Those pesky Nazis are at it again, determined to take over the world. But first, Nazi scientist Dr. Norberg (Dana Andrews), now living in England, must find a way to revive a group of select officers who were frozen after World War II. He can reanimate the bodies, but somehow can’t adequately revive their brains. The solution comes in the form of his niece Jean (Anna Palk), who unexpectedly arrives home with her American friend Elsa (Kathleen Breck). His ruthless assistant Lubeck (Karel Stepanek) abducts and kills Elsa, providing an unprecedented opportunity to study her disembodied head and brain in action. The head, however, has other ideas, exerting psychic control over Jean and a wall of severed arms. The whole thing plays like a slightly more competent version of The Brain that Wouldn’t Die (1962), but it’s not without its relative merits, providing some low-key, low-budget thrills. 

Rating: ***. Available on DVD 

 

From Hell It Came (1957) American doctors visit an unspecified South Pacific island nation, where they encounter mostly hostile (and generic) villagers. Things get even worse when a wrongfully executed native is reincarnated as a murderous tree monster known as Tabonga, who embarks on an indiscriminate rampage. Expect lots of scenes with the condescending doctors espousing the virtues of Western society over the “primitive” and “ignorant” natives (who speak pidgin English). The “star” of the show, however, is the slow-moving and barely ambulatory Tabonga. It’s hard not to be amused by the goofy yet endearing tree monster, which seems to have more trouble remaining upright than causing mayhem. 

Rating: **½. Available on Blu-ray and DVD 

The Devil’s Rain

(1975) Directed by Robert Fuest; Written by Gabe Essoe, James Ashton, and Gerald Hopman; Starring: Ernest Borgnine, Eddie Albert, Ida Lupino, William Shatner, Keenan Wynn, Tom Skerritt, Joan Prather and John Travolta; Available on Blu-ray and DVD 

Rating: **½  

“This book was owned by Corbis about 300 years ago. It’s a written history of the people – the names of the people he converted to Satan. These are written in blood, these signatures. These are people who believe that they sold their souls to the devil…” – Dr. Sam Richards (Eddie Albert) 

“It needed something. It was taking itself far too seriously, I thought.” – Tom Skerritt (from 2017 interview, “Confessions of Tom”)

Prior to the so-called “Satanic Panic” of the ‘80s, the box office was flooded with a glut of Satanic conspiracy movies. After the success of genre high-points Rosemary’s Baby (1968) and The Exorcist (1974), it seemed as if everyone with a motion picture camera scrambled to duplicate the themes from these films, with varying degrees of quality.   Somewhere in between lies The Devil’s Rain. Filmed in Durango, Mexico (and allegedly funded by mafia money), The Devil’s Rain boasted an impressive cast of veteran and up-and-coming actors, including Ernest Borgnine, Ida Lupino, Keenan Wynn, William Shatner, and John Travolta (in one of his earliest roles). Its biggest claim to fame, however, was listing Church of Satan founder Anton LaVey (who also appears in a cameo as a high priest) as a “technical advisor,” supposedly to oversee the authenticity of the rituals depicted in the film. Although I can’t attest to the veracity of the rituals on display, his involvement was a hell of a marketing gimmick (pardon the pun).

The opening title sequence sets the tone (or at least raises our expectations), with a montage of Hieronymus Bosch paintings. It’s too bad Bosch’s fanciful representations of the torments of hell are nowhere to be seen in the rest of the movie. The opening scene begins, fittingly enough, on a stormy night. Mark Preston (William Shatner) returns home to find his mother (Ida Lupino) cowering from unseen forces, while his father melts in a puddle on their doorstep. At that moment, he decides to take matters into his own hands by confronting Corbis and his minions on their home turf – a ghost town, somewhere in the Southwest. The movie’s MacGuffin is Corbis’ much-sought-after book, chronicling a list of captured souls, which the Preston family has kept hidden away in the floorboards. As we soon learn in a flashback sequence, Mark’s ancestor once betrayed cult leader Jonathan Corbis (Ernest Borgnine), who was burned at the stake. 300 years later, he’s back for revenge against Preston’s present-day descendants, and desperate to retrieve his book. When Mark suddenly disappears, it’s up to his brother, Dr. Tom Preston (Tom Skerritt) to bring Corbis down. Conveniently for us, Tom’s wife Julie (Joan Prather)* possesses ESP ability, enabling her to see 300 years into the past, when Corbis was persecuted for his beliefs and practices. Now the stage is set for the ultimate showdown between good and evil (or as much as the budget would allow). 

* Fun Fact #1: Shatner, Skerritt and Prather all starred in the Roger Corman production, Big Bad Mama (1974), the previous year.

One of the film’s greatest strengths (lauded by some critics at the time) is Ernest Borgnine’s deranged performance as Jonathan Corbis. Being a cult leader requires a big personality, and Borgnine fits the bill, being warm and congenial one moment, maniacal the next. Borgnine looks especially imposing, when Corbis transforms into a goat demon (“Who calls me from out of the pit?”). In contrast to some of the actors, who appeared to be playing their roles under duress, he seemed to be having a good time. Keenan Wynn, as a local sheriff, is underutilized, but makes the most of his brief appearance. Lupino, on the other hand, is wasted in her thankless role. The much-touted presence of John Travolta does little to enhance one’s viewing experience, as he barely appears in the movie, and is basically unrecognizable under makeup.

(SPOILER ALERT) It’s hard to top the movie poster’s hyperbolic tagline: “Absolutely the most incredible ending of any motion picture ever!” While nothing could possibly live up to that kind of ballyhoo, it’s fun to watch the Satanic congregation melt into red and green globs of goo in the rain (it probably earned the “PG” rating instead of an “R,” due to the unnatural-looking orangey-reds and greens of the effluences).* Unfortunately, the producers never heard the expression, a little goes a long way. Too much of a good thing becomes tedious. Fuest confided that the final scene** goes on too long, with more footage shot by one of the assistant directors at the behest of the producers. 

* Fun Fact #2: According to makeup effects master Tom Burman, the shoestring production couldn’t afford full-body makeup. For the scenes where bodies seem to be withering away, Burman’s crew used inflatable dummies from a sex shop.

** Fun Fact #3: To create the visual effect of wailing souls trapped in a Satanic vessel, the crew fabricated a container around a portable television.

The Devil’s Rain carries on the dubious horror movie tradition of smart people doing dumb things. Both Mark and his brother Tom choose to take on Corbis’ cult while greatly outnumbered (they apparently never learned from the adage, there’s safety in numbers). If nothing else, Tom and his wife didn’t pay attention to the fact that Corbis was defeated 300 years ago by an angry mob of torch-bearing villagers.

It’s difficult to separate the hype from reality when considering the stories swirling around about the film’s production. Rumors of a “cursed” production seem to have no basis in fact, as well as reports of director Robert Fuest’s nervous breakdown (which he flatly denied in his DVD commentary). Whether or not the film was troubled behind the scenes, The Devil’s Rain is a mess. Sadly, the all-star cast doesn’t make up for the weak story, thin characterizations and murky motivations. There’s a kernel of an intriguing story, but the end results are half-baked. Even the director’s commentary (moderated by Marcus Hearn) is lackluster. Fuest (who seemed to have a hazy memory of the production in the first place) frequently veers off-topic, discussing many of his other films (such as The Abominable Dr. Phibes and Wuthering Heights). The Devil’s Rain is probably best remembered for Borgnine’s exuberant performance and the aforementioned ending. It might be worth a look for the curious, but prepare to be underwhelmed.

 

Sources for this article: 2005 commentary by Robert Fuest (moderated by Marcus Hearn), “Confessions of Tom” (2017 interview with Tom Skerritt), “The Devil’s Makeup) (2017 interview with Tom Burman) 

 

Mystics in Bali

 

(1981) Directed by H. Tjut Djalil; Written by Jimmy Atmaja; Based on the novel Leak Ngakak by Putra Mada; Starring: Ilona Agathe Bastian, Yos Santo, Sofia W.D., W.D. Mochtar, and Debbie Cinthya Dewi; Available on DVD 

Rating: ***½ 

“Cathy, voodoo or any other black magic is nothing compared to this Leak magic. According to what I’ve heard, the Leak is the most powerful of all magic.” – Mahendra (Yos Santo) 

“There are some things people weren’t meant to know” is a popular theme of many horror films, often involving a naïve westerner poking their nose where it doesn’t belong.  Of course, anyone who’s watched more than a few movies of this type knows exactly where it’s going. While its central theme and plot are familiar, director H. Tjut Djalil’s Mystics in Bali takes a decidedly Southeast Asian spin on familiar material, incorporating Indonesian folklore into the mix.* As a pure horror film, it represented a departure for Indonesian cinema, which previously adopted Bollywood’s “kitchen sink” approach (with a mélange of slapstick comedy, drama, and musical numbers). Intended as a breakout film for the export market, Mystics in Bali featured an approach that would appeal to the tastes of Western audiences. 

* Fun Fact #1: Due to the subject matter, which incorporated authentic Balinese beliefs and practices, filming was moved from Bali to nearby Java, to avoid upsetting the locals.

Cathy Kean (Ilona Agathe Bastian)* is an inquisitive young American woman visiting Bali, Indonesia, as research for her book on different forms of black magic. Through her friend Mahendra (Yos Santo), she learns about a powerful form of Indonesian black magic known as Leak (Pronounced “Le-ack”).* Mahendra arranges a meeting with a Leak master (Sofia W.D.) who appears as a hideous crone, but subsequently agrees to take on Cathy as her disciple. Naturally, there is a steep price to acquire this forbidden knowledge, as Cathy unwittingly pays with her body and soul. Employing her mastery of the dark arts, the ever-cackling sorceress (who sounds something like the Cryptkeeper in Tales from the Crypt) borrows Cathy’s head (yep, you read that right) to do her bidding. Cathy’s head detaches (with entrails dangling underneath) and flies around, searching the countryside for the blood of potential victims.** She’s bound by the Leak master to take the lives of three people, so the witch can become all-powerful and immortal. Now it’s up to Mahendra and his uncle Machesse (W.D. Mochtar), a mystic, to set things right, setting the stage for an ultimate battle between good and evil. 

* Fun Fact #2: Ilona Agathe Bastian wasn’t an actress but a German tourist who happened to be at the right place at the right time. A wife of one of the producers convinced Bastian to extend her stay by several weeks so she could appear in the movie. To date, this remains her one and only film role. 

** Fun Fact #3: The Leak (or Kuyang) isn’t strictly confined to Indonesian folklore, but has several counterparts throughout Southeast Asia, including: Thailand (Krasue), Cambodia (Ahp), Vietnam (Ma lai), and others.

Cathy and Mahendra are clearly more than just friends, but within the confines of the movie they enjoy a chaste relationship. Considering the gory, anything-goes nature of the film, the conspicuous restraint the filmmakers demonstrated with regard to the two leads suggests it was due more to censorship concerns than anything else. (Mild Spoiler Alert) We only learn toward the end of the film that the young woman stalking Mahendra and Cathy is Mahendra’s jealous ex-girlfriend. When we learn of her connection with Mahendra, it almost seems out of left field. I can only speculate that the original, longer cut of the film fleshed out this character a bit more.

Compared to American cinematic standards, the special effects are crude, but once we’re in the thick of things, it ceases to matter. The transformation sequences (when Cathy and the Leak master turn into pigs, and later into snakes) have a creepy, otherworldly quality that transcend any technical or budgetary limitations. But the animal transformations are only appetizers for the main course. Arguably, the movie’s raison d'être is revealed when Cathy’s head separates from her body, becoming its own entity. It’s not an especially convincing visual (the video-based effects don’t quite synch up with the film stock, and the flying head just looks like a mannequin head on a wire), but it still creates an uncanny experience, leaving our collective imaginations to fill in the blanks.

Initial plans to market Mystics in Bali as a “breakout” Indonesian film geared to Western audiences backfired, when it failed to find adequate international distribution. Outside of its native Indonesia, the film only made it to Japan as a theatrical release. Home video and word of mouth eventually gave the movie a new set of legs, especially with its DVD release in 2007. It’s been unfairly maligned as “cheesy” or goofy by some reviewers, but that overlooks the cultural significance of the film, which reflected the Balinese culture and superstitions. Those spoiled by the technical wizardry of Western cinema, with its emphasis on photorealistic effects and slick production values, might find Mystics in Bali too rough around the edges, but that’s missing the point. Instead, Mystics in Bali asks you to suspend your disbelief and consider there are forces much greater than ourselves in the world – forces that deserve reverence and above all, caution.   

Sources for this article: “Mystics in Bali & the Indonesian Exploitation Movie,” by Pete Tombs (essay from Mondo Macabro DVD); “Krasue,” Wikipedia entry: Krasue 

The Bold and Bizarre World of Cinematic Yokai

 

I love yokai! There, I said it. Ever since I was introduced to these fanciful and frightening beings in all their cinematic glory, I can’t get enough of the things that go bump in the night. But what exactly are yokai? These reclusive, elusive creatures belong to a broad category of mythical spirits (or monsters) that inhabit every corner of the Japanese countryside (and in some urban areas). Part cryptid, part urban legend, yokai are an integral component of Japanese folklore and pop culture. Chances are, if you’ve watched many Japanese movies, anime, or manga, you’ve seen yokai (sometimes translated as spirits, monsters, demons, or goblins) already in one form or another. But what are they?

There are literally hundreds of yokai, as diverse as the habitats they represent. Their temperament ranges from harmless to deadly. Many are tricksters who only want to frighten people away, but encounters with some can result in a nasty end. While the variety of yokai are far too numerous to cover here, I’ve chosen to focus on a baker’s dozen of the more popular examples that you’re most likely to encounter on your TV screen. What follows is a brief guide to yokai in the movies and where you can view them. Happy hunting! 

Kappa (Water Sprite) 

By far one of the most widely known (and frequently depicted) yokai are kappa. While there are several variations, the stereotypical kappa is humanoid in appearance, but with a turtle’s beak and shell, as well as a ceramic plate on top of its head that must remain wet to maintain its vitality. Kappa are characterized by their fondness for sumo wrestling, eating cucumbers (Sushi fans might recognize the “kappa roll,” which includes – you guessed it.), and excessive flatulence. Although they’re generally depicted as benign, they have a mischievous streak, with a tendency to drag people into the waterways where they live. Some are also thought to attack the posterior of swimmers for a mythical organ within the colon. 

Where can you see them?

You don’t have to look very hard to find kappa in Japanese fantasy films. They’re featured prominently in Yokai Monsters: Spook Warfare (aka: The Great Yokai War) (1968) and Takashi Miike’s remake, The Great Yokai War (2005). In Summer Days with Coo (2007), they’re the star attraction. And before The Shape of Water (2017) introduced us to the possibility of (ahem) human-monster relations, the surprisingly charming Underwater Love (2011) featured the yokai in quite possibly the only Kappa-themed pinku musical. And last but definitely least, an “ordinary” kappa grows to extraordinary proportions in the middling Kaijū eiga-spoof, Death Kappa (2010).

Onibaba (Demon Hag) 

This is one yokai you don’t want to mess with. Appearing as an old woman, the Onibaba feasts on the livers of unborn children and the flesh of wayward travelers. Legend has it that she started out as a human being, but unfortunate circumstances forced her into existence as a supernatural entity.    

Where can you see them?

Look no further than Onibaba (1964), which approaches the legendary yokai from a more pragmatic perspective.

Nopperabo (No-face) 

Perhaps the uncanniest yokai of them all are the Nopperabo, proving that when it comes to frights, less is sometimes more. They look normal enough until they turn around, revealing a face completely devoid of features (“Did they look like this?”). They’re not inherently dangerous like the Onibaba, but delight in creeping out unsuspecting humans who happen to cross their path. 

Where can you see them? 

Examples of these faceless wonders can be found in Along with Ghosts (1969) and Pom Poko (1994). 

Kara-kasa (Haunted Umbrella) 

My personal favorite yokai isn’t dangerous or especially fearsome, but relies on the element of surprise. A discarded oiled-paper umbrella takes on life of its own, sporting one large eye, a single shapely leg where the handle should be, and a solitary sandal. A natural-born trickster, the Kara-kasa likes to drop in on people unexpectedly. If their appearance isn’t enough to send someone running, they might provide additional enticement to vacate the premises with a sloppy lick from their serpentine tongue. 

Where can you see them? 

You’ll find examples of the kara-kasa in Yokai Monsters: Spook Warfare (1968) and 100 Monsters (1968). Also, watch for cameos in Pom Poko (1994) and Sakuya: Slayer of Demons (2000).

Rokurokubi (Long-necked Woman) 

At first glance, the Rokurokubi appear to be a normal human being (much like the nopperabo), but just when you’re lulled into a false sense of security, their true nature appears. The rokurokubi (who are uniformly female) enjoy scaring men out of their wits (and sometimes their life essence) with their absurdly long, twisty necks. 

Where can you see them? 

Rokurokubi are nearly as prevalent in films as kappa, appearing in Yokai Monsters: Spook Warfare (1968), 100 Monsters, The Great Yokai War (2005), and (briefly) in Pom Poko (1994).

 

Yuki-Onna (Snow Woman) 

One of the more dangerous yokai, the Yuki-Onna resembles an attractive woman with an extremely pale complexion. They roam the snowy countryside looking for victims. Anyone unlucky enough to encounter them runs the risk of having his or her life energy drained and freezing to death.  

Where can you see them? 

The Yuki-Onna enjoyed her time in spotlight in a segment of Kwaidan (1964), and starred in her own film, The Snow Woman (1968). She also makes a guest appearance in The Great Yokai War (2005).

Kuchisake-Onna (Slit-Mouthed Woman) 

One of the more recent yokai, Kuchisake Onna is the stuff of urban legend (and nightmares). Pray you never run into her. The lower portion of her face is concealed by a surgical mask or other piece of cloth, which conceals the fact that her mouth is slit from ear to ear in the hideous approximation of a smile. There’s no correct answer to her challenge, “Am I pretty?” If you answer “yes,” she follows you home, where a violent death awaits. If the answer is “no,” she reveals her visage, slashing the victim’s face in a grotesque mimicry of her disfigurement. 

Where can you see them? 

Perhaps not the best representation of the Kuchisake Onna, but Carved: The Slit-Mouthed Woman (2007) has its unsettling moments. 

Tanuki (Raccoon Dog) 

Unlike the other yokai on this list, Tanuki have real-life counterparts, inhabiting the Japanese countryside, albeit in dwindling numbers. Not really raccoons, but a member of the canine family, folklore suggests these critters possess supernatural properties. With their reputation as natural-born tricksters, Tanuki enjoy deceiving humans with their shape-shifting abilities. They’re also known for their enormous testicles (I didn’t make that up), as depicted by the ubiquitous statuettes around their native country. 

Where can you see them? 

Look no further than the bittersweet Pom Poko (1994), an entire movie devoted to the wily, fun-loving creatures, who wage a losing war with humans encroaching on their habitat.

Nuppeppo 

While they’re not exactly the rock stars of the yokai world, Nuppeppo (which is also Japanese slang for someone who wears too much makeup), you don’t have to look too hard to find them in the cinematic world (the real world is another story). These bipedal creatures are vaguely human in shape, but resemble a squat, featureless blob with legs, with a tendency to wander around abandoned places and graveyards. 

Where can you see them? 

You can find an example of the Nuppeppo in Yokai Monsters: Spook Warfare (1968) and 100 Monsters (1968).

Tengu (Mountain Goblin) 

Tengu are supernatural mountain spirits that resemble men with wings and long noses. As with many yokai, there are many variations. They’re ambiguous in nature, however, as portrayed in film, they’re generally benevolent and monk-like. 

Where can you see them? 

One appears in The Great Monster War (2005), although with a blue complexion (rather than red).

Wanyudo (Wheel Priest) 

The Wanyudo makes it presence known in spectacular fashion: as a fiery spinning wagon wheel with the face of a priest in the middle. This yokai has a vengeful streak, ready to run over whomever is foolish enough to get in their way. The Wanyudo dines on the souls of its unfortunate victims, subsequently dragging their bodies to hell. Villagers protect themselves against the Wanyudo by adorning their doors with a talisman. 

Where can you see them? 

You can catch a glimpse of the Wanyudo in The Great Yokai War (2005), and briefly in Pom Poko (1994).

 

 Abura Sumashi (Oil Presser) 

This unassuming yokai is short, with a huge, boulder-like head, and dressed in a straw raincoat. Not much is known about the Abura Sumashi, however, their distinctive appearance is attributed to a curse for stealing oil when they were still in human form. 

Where can you see them? 

An Abura Sumashi appears as the nominal leader of the yokai in Yokai Monsters: Spook Warfare (1968) and The Great Yokai War (2005).

Mokumokuren (Haunted Shoji Screen) 

While they’re among the least threatening of yokai, Mokumokuren’s harmless nature doesn’t diminish their ability to creep you out. Like some of their yokai brethren, Mokumokuren are a prime example of taking something inanimate and innocuous and turning it into something vaguely sinister. A prevalent aspect of traditional Japanese architecture is the sliding paper (shoji) screen. Now imagine said screen adorned with multiple pairs of eyes, and you’ve got a Mokumoku-ren. If you ever felt you were being watched when you were alone, this could be the culprit. 

Where can you see them? 

You can spot the offending décor in The Great Yokai War (2005) 

 

Sources for this article: Yokai Attack! The Japanese Monster Survival Guide, by Hiroko Yoda and Matt Alt; Strange Japanese Yokai, by Kenji Murakami; The Book of Yokai, by Michael Dylan Foster; The Night Parade of One Hundred Demons, by Matthew Meyer; Japandemonium Illustrated, The Yokai Encyclopedias of Toriyama Sekien

 

November Quick Picks and Pans

 

Murder, My Sweet (1944) Dick Powell plays Raymond Chandler’s enduring private detective, Philip Marlowe, in a plot that involves an ex-con (Mike Mazurki), his missing girlfriend, and some stolen jade. Marlowe becomes unwittingly embroiled in a triangle between a rich elderly magnate (Miles Mander), his trophy wife Helen (Claire Trevor) and his daughter Ann (Anne Shirley). Director Edward Dmytryk maintains a breakneck pace throughout, with smart dialogue and gobs of intrigue, cut with a healthy dash of humor. Being taken for a ride has seldom seemed so enjoyable. 

Rating: ****. Available on Blu-ray and DVD

Too Late for Tears (1949) An unhappy married couple, Jane and Alan (played by Lizabeth Scott and Arthur Kennedy), bickering on a lonely highway find their lives turned around when a valise filled with $60,000 in cash ends up in their laps. After successfully evading the intended recipient, they debate about what to do with their new windfall – report it to the police or keep it. It soon becomes apparent that Jane has other plans for the money, until the owner of the money (Dan Duryea) tracks her down. Lizabeth Scott is at her icy best, as a woman who will stop at nothing to keep herself wrapped in luxury. 

Rating: ****. Available on Blu-ray, DVD, Prime Video and Kanopy

 

 

The Strange Woman (1946) This not-quite-noir by director Edgar Ulmer is set in early 1800s Bangor, Maine, when it teetered on the precipice of becoming a boomtown. The ever-radiant Hedy Lamarr stars as Jenny Hager, an enigmatic young woman haunted by her father’s poor reputation. She sets out to make a name for herself, manipulating men and women alike with her wiles, eventually assuming control of her deceased husband’s business empire. While she climbs the rungs of the social ladder, she remains a contradiction, ruthless, but with a strong philanthropic streak. Much like its main character, the film sends a mixed message, with its morally conflicted main character, demonized by judgmental and self-righteous townspeople. 

Rating: ***. Available on DVD and Prime Video

 

The Crimson Cult (aka: Curse of the Crimson Altar) (1968) Despite a stellar cast (featuring Boris Karloff, Christopher Lee, Barbara Steele and Michael Gough), this meandering supernatural thriller never quite gets unstuck from neutral. Robert Manning (Mark Eden), an antiques dealer, investigates the whereabouts of his missing brother, which leads him to the Morely estate, presided over by the family patriarch (Christopher Lee). While staying at the mansion, he falls for Morley’s niece, Eve (Virginia Wetherell), who shares a direct lineage to her infamous ancestor Lavinia (Barbara Steele). Boris Karloff co-stars (and spends the movie looking physically uncomfortable) as Morley’s neighbor, Professor John Marsh. This Tigon production, directed by Vernon Sewell, displays a few moments of almost Hammer-level gothic atmosphere, but suffers from poor pacing, a weak story, and a painfully bland lead. 

Rating: **½. Available on Blu-ray (Out of print) and Tubi 

 

Terminus (1987) This French-German co-production, directed by Pierre-William Glenn, plays like a pastiche of other postapocalyptic movies, while struggling to say something new. Karen Allen appears as Gus, the driver of a computerized truck who participates in a dangerous game, traveling through a perilous route full of hostile inhabitants. Jürgen Prochnow co-stars in a triple role as a totalitarian leader with an orange wig (“Sir”), a mad scientist (“Doctor”), and a rival truck driver. The truck and its artificial intelligence brain was invented by lab-created child prodigy Mati (Gabriel Damon), who has an ulterior motive for his game. Allen, who’s featured prominently in the credits, has relatively little screen time, and Prochnow looks like he’d rather be in something else. It’s a disappointing mishmash of half-baked ideas with little focus.   

Rating: **. Available on DVD, Prime Video and Tubi

 

Viva Mexico Month Quick Picks and Pans

 

Bajo la Sal (aka: Under the Salt) (2008) This melancholic, noir-flavored crime thriller from director Mario Muñoz is based on the story "La Venganza del Valle de las Muñecas" (aka: “The Revenge of the Valley of the Dolls”). Comandante Trujillo (Humberto Zurita), a disgraced police detective, is called to a small town to help investigate a series of murders of young women in and around a vast salt harvesting facility. The common link is the victims were all expelled from the local high school. Signs point to Victor (Ricardo Polanco), a troubled young student who works at his father’s funeral parlor. In his spare time, he makes stop-motion horror films and obsesses over Isabel (Irene Azuela), a former student who’s looking for a way out. Serguei Saldívar Tanaka’s exceptional cinematography exploits the town’s unforgiving landscape, exemplified by a vast sea of salt. It’s a fascinating, unrelentingly grim movie that melds style with substance. 

Rating: ****. Available on DVD

 

 

Darker than Night (1975) In writer/director Carlos Enrique Taboada’s supernatural gothic thriller, Ofelia Escudero (Claudia Islas) inherits her reclusive aunt’s estate. There’s only one request: she must care for her aunt’s beloved cat. Under the watchful eye of disapproving housekeeper Sofia (Alicia Palacios), Ofelia and her pals move in to the spooky old mansion. Almost immediately, strange things begin to occur, with deadly consequences. It’s an atmospheric, unsettling slow burn, relying more on an overwhelming sense of dread, rather than gore and jump scares. 

Rating: ***½. Available on Blu-ray (included in Vinegar Syndrome’s box set, “Mexican Gothic: The Films of Carlos Enrique Taboada) and Tubi

Sombra Verde (aka: Untouched) (1954) Ricardo Montalban stars as Federico Gascón, a young professional sent by a big-city pharmaceutical company to the Mexican jungle to search for source of cortisone. When his guide is killed by a snake, Federico loses direction, eventually stumbling upon a sanctuary owned by the reclusive Don Ignacio Santos (Víctor Parra). Santos is as fiercely protective of his privacy as he is of his young daughter, Yáscara (Ariadne Welter). Sparks fly when the unhappily married Federico falls in love with free-spirited Yáscara. Featuring good performances by Parra, Welter and a young Montalban, Sombra Verde is well worth a look. They don’t make ‘em like this anymore. 

Rating: ***½. Available on DVD

 

The Untamed (2016) In this fascinating, unnerving horror film from director/co-writer Amat Escalante, a middle-aged couple in rural Mexico harbor a bizarre secret in their cottage: a multi-tentacled alien creature, which arrived in a meteorite. Escalante focuses on young mother Alejandra’s (Ruth Ramos) unhappy marriage. When her path crosses with Verónica (Simone Bucio), they find solace in the creature, but there’s a terrible price. The ambiguous extraterrestrial, which could serve as a metaphor for toxic relationship, fosters a kind of drug-like dependency among everyone that comes into contact with it, providing pleasure and pain in equal measures. The Untamed wears its influences on its sleeve (especially Andrzej Zulawski’s 1981 film, Possession and Jonathan Glazer’s Under the Skin), but it has an identity all its own. 

Rating: ***½. Available on Blu-ray, DVD and Kanopy

 

Cemetery of Terror (1985) Some horny guys try to spice up their party by stealing a body from a morgue (because nothing turns women on more than a pilfered cadaver), and raising the dead through demonic incantations in an ancient book. Before you know it, zombies are running amok in a graveyard scene (with multicolored backlighting) that looks like it’s straight out of the Thriller music video (there’s even a kid with a Michael Jackson jacket). Cemetery of Terror borrows heavily from Halloween with its protagonist, Hugo Stiglitz as Dr. Cardan (a Dr. Loomis type), relentlessly pursuing an unstoppable killer. 

Rating: ***. Available on Blu-ray and DVD

 

Santo in the Vengeance of the Mummy (1971) In one of the weaker Santo movies, our titular hero travels to the jungles of Mexico on a research trek* to explore the remnants of an ancient civilization. The local townspeople aren’t thrilled with the appearance of meddling outsiders, who are killed off one by one by a reanimated mummy (a surprisingly large number of people die under Santo’s watch, makings me wonder if they were better off on their own). The movie is surprisingly short on action and more talky than many other Santo movies, and the “Scooby-Doo” climax doesn’t help matters. 

* Fake Fact: From 1958 to 1974, all Mexican archaeological expeditions were legally required to include El Santo, for their own protection. 

Rating: **½. Available on Blu-ray (included in the “Santo: El Enmascarado De Plata” box set, DVD and Midnight Pulp

Santo vs. Infernal Men (1961) Santo’s second cinematic adventure (following Santo vs. Evil Brain) is a bit of a letdown, with the silver-masked wrestler as a supporting character in his own movie. The central plot deals with an undercover police detective, Joaquín (Joaquín Cordero), infiltrating a crime ring, with the help of Santo. In 1959, Joselito Rodríguez and Enrique Zambrano shot two movies back-to-back in Cuba, and compared to its predecessor, Infernal Men seems incomplete, almost as if the filmmakers only had enough footage for one entire film. Santo appears in a few scenes to flesh out the action, but it’s clearly Cordero’s movie. Santo vs. Infernal Men affords an interesting glimpse of pre-Castro Cuba, but the rest of the movie is a bore. While Santo’s first movie is far from perfect, you’re better off seeing that instead. 

Rating **½. Available on Blu-ray (available individually, or included in Indicator’s “Enter Santo” boxed set)