Category Archives: Must-See
Phantasm 1-5: Limited Edition Collection | Don Coscarelli’s Phantasm series is back – with added balls on Blu-ray
Few horror movie franchises are as iconic as Don Coscarelli’s Phantasm series. From its deadly flying silver spheres through to its hooded dwarf minions, and of course, the towering figure of arch villain The Tall Man himself, the imagery conjured up by the Phantasm films remains etched in the psyche of genre fans everywhere.
Beginning with the 1979 original through to 2016’s Phantasm: Ravager, the five films follow Mike (A Michael Baldwin) as he battles against the enigmatic Tall Man (Angus Scrimm) – an extraterrestrial being intent on harvesting the human race as slaves for his home planet. Aided by his friend Reggie (Reggie Bannister) and a four-barrelled shotgun, Mike resolves to vanquish the Tall Man before he wipes out humanity altogether…
Presented here in a stunning Limited Edition Dual Format release by Arrow Video, it’s the first time all five films have been brought together on Blu-ray – including a brand new 4K restoration of the 1979 classic, Phantasm, overseen by JJ Abrams. Check out the full specs below ad order from Amazon here
LIMITED EDITION SPECIAL FEATURES
• 5 movies together on Blu-ray for the first time!
• Limited Edition Bonus Disc
• Exclusive 152-page book with new writing on the Phantasm universe
• Replica Sphere
• Newly-commissioned artwork from Gary Pullin
PHANTASM (1979 – 2016 REMASTERED)
• Original Mono and 5.1 Surround Audio Options
• The Los Angeles Premiere Experience – join the audience of die-hard phans as they experience the restored classic for the first time! Watch the entire feature with a 5.1 Surround audience track recorded at the 2016 Los Angeles premiere followed by the full Phantasm Q&A panel
• Audio commentary with director/writer Don Coscarelli and actors A. Michael Baldwin, Bill Thornbury and Angus Scrimm
• Archive Introduction by “Tall Man” Angus Scrimm
• Reflections of Fear: Realising Phantasm – In this brand new pheaturette, experience new stories about the people and personal inspiration behind Phantasm, and learn how the film’s success has impacted on the actors and filmmakers’ lives. Features interviews with Don Coscarelli, actors A. Michael Baldwin, Reggie Bannister, Kathy Lester and Ravager director David Hartman
• Q&A panel from the 2016 Austin Premiere of Phantasm: Remastered
• 1979 TV interview with Don Coscarelli and Angus Scrimm
• Behind-the-Scenes with optional audio commentary by Don Coscarelli and Reggie Bannister
• Phantasm: Actors Having a Ball – Phantasm cast and crew offer up various recollections from the making of the film
• Deleted Scenes
• Original Trailer, TV and Radio Spots
PHANTASM II (1988)
• Original Stereo and 5.1 Surround Audio Options
• Audio commentary with director/writer Don Coscarelli and actors Angus Scrimm and Reggie Bannister
• Reflections of Fear: Realising Phantasm II – In this brand new pheaturette, learn from the cast and crew how and why a Phantasm sequel happened, the evolution of the story, and the introduction of the most iconic props in the series. Features interviews with Don Coscarelli, Reggie Bannister, A. Michael Baldwin, special make-up artists Mark Shostrom and Dean Gates and Ravager director David Hartman
• The Ball is Back – archive making-of documentary featuring interviews with Don Coscarelli, Angus Scrimm, Reggie Bannister and others
• The Gory Days – FX artist Greg Nicotero looks back at his work on Phantasm II • Deleted and Workprint Scenes
• Behind-the-Scenes Footage
• Angus Scrimm Fangoria Convention Appearance
• Angus Scrimm Fangoria TV Spot
• Original Trailer and TV Spots
• Still Gallery
PHANTASM III: LORD OF THE DEAD (1994)
• Original Stereo and 5.1 Surround Audio Options
• Audio commentary with actors A. Michael Baldwin and Angus Scrimm
• Reflections of Fear: Realising Phantasm III – In this brand new pheaturette, the cast and crew reflect on the third chapter in the Phantasm series and the vast amount of make-up work on the film. Features interviews actor A. Michael Baldwin, Ravager director David Hartman and make-up artists Mark Shostrom and Dean Gates
• Behind-the-Scenes Footage with optional audio commentary by Mark Shostrom and Dean Gates • Deleted Scene
• Original Trailer
• Still Gallery
PHANTASM IV: OBLIVION (1998)
• Original Stereo and 5.1 Surround Audio Options
• Audio commentary with director/writer Don Coscarelli and actors Angus Scrimm and Reggie Bannister
• Reflections of Fear: Realising Phantasm IV – In this brand new pheaturette, the cast and crew reflect on how the fourth Phantasm film evolved and reflect on their personal relationship with The Tall Man, Angus Scrim. Features interviews with director Don Coscarelli, actor A. Michael Baldwin, special make-up artists Mark Shostrom and Dean Gates and Ravager director David Hartman
• Original Trailer
• Still Gallery
PHANTASM: RAVAGER (2016)
• Exclusive Introduction(s!) by director David Hartman
• The Los Angeles Premiere Experience – join the audience of die-hard phans as they experience Phantasm: Ravager for the first time! Watch the entire feature with a 5.1 Surround audience track recorded at the 2016 Los Angeles premiere
• Audio commentary with director David Hartman and writer/producer Don Coscarelli
• Reflections of Fear: Realising Phantasm: Ravager – Brand new pheaturette looking at the final chapter in the Phantasm series, featuring interviews with actors A. Michael Baldwin, Reggie Bannister, Kathy Lester, Daniel Schweiger and director David Hartman
• Q&A panel from the 2016 Austin Premiere
• Behind-the-Scenes Featurette
• Deleted scenes with optional audio commentary
• Bloopers and Outtakes
• Original Trailer
• Phantasm and You – a light-hearted recap of the Phantasm franchise by David Hartman
• Phantasmagoria: feature-length documentary covering Phantasm I-IV
• Phantasmagorical Mystery Tour: location tour hosted by actor Reggie Bannister
• Tall Tales: newly-edited featurette comprised of largely unseen footage from Phantasmagoria
• Dear Angus: a tribute to Angus Scrimm by long-time friend and collaborator Kristen Deem
• Phantasm: Genesis: featurette looking at some of the key stunt sequences from the series
• Phandom: A look at the enduring nature of ‘phandom’
The iconic 1980s horror Fright Night is out in a dual-format special edition from Eureka Classics in the UK featuring a 4k digital restoration of the film and a coffin load of bonus material (check them out below). And the best news? It’s currently available on Amazon for just 8 quid (while the Limited Edition Steelbook is fetching £69.99).
This 1985 vampire movie certainly has plenty of bite – but also strikes the perfect balance of blood and guts horror and darkly comic humour. And alongside the same year’s, The Return of the Living Dead, it remains one of my personal favourites that I return to time and again.
If you love being scared, it’ll be the night of your life…
No-one will believe teenager Charley (William Ragsdale) when he tells them that a vampire called Jerry (Chris Sarandon) has moved into the house next door and is seducing and murdering young maidens there. He then turns to TV horror host Peter Vincent (Roddy McDowall) for help. Lured by a $500 incentive by Charley’s girlfriend (Amanda Bearse), who happens to look like Jerry’s long-lost love, the one-time Great Vampire Killer discovers that Jerry is indeed a vampire as he casts no reflection in a glass – and so the deadly games begin…
Sarandon is every inch the smoothie-savage bloodsucker, while Stephen Geoffreys steals every scene he’s in as Charley’s bestie turned beastie ‘Evil Ed’. But the real star of this late night horror show is Roddy McDowall, whose character name is made up of two iconic horror actors – Peter Cushing and Vincent Price. Alongside his turns in the Planet of the Apes films, this must rank as one of his career-best turns.
• 4K digital restoration, with original stereo PCM soundtrack and 5.1 DTS-HD Master Audio options, plus English subtitles
• You’re So Cool, Brewster! Exclusive to this release, a two-hour version of the 2016 documentary on the making of Fright Night.
• What is Fright Night? 2016 video piece featuring cast and crew interviews (BLU-RAY ONLY)
• Tom Holland: Writing Horror, a 2016 video piece featuring interviews with Holland and his collaborators (BLU-RAY ONLY)
• Rowdy McDowall: From Apes to Bats, a 2016 video piece featuring archival footage of McDowall and cast and crew interviews (BLU-RAY ONLY)
• Fear Fest 2 2008 reunion panel featuring Tom Holland, Chris Sarandon, William Ragsdale, Stephen Geoffreys, Amanda Bearse, Jonathan Stark and moderated by Rob Galluzzo (BLU-RAY ONLY)
• Shock Till You Drop Present Choice Cuts with Tom Holland and Ryan Turek, a three-part video interview on the film (BLU-RAY ONLY)
• The full electronic press kit, featuring extensive on-set interviews and behind-the-scenes footage (BLU-RAY ONLY)
• Stills and memorabilia from Tom Holland’s personal collection (BLU-RAY ONLY)
• G-rated and R-rated theatrical trailers (BLU-RAY ONLY)
• Collector’s booklet (STEELBOOK EXCLUSIVE)
A decade on from the end of the Nazi occupation of France, a small rural town finds itself engaged in another war. A platoon of dead German soldiers are beginning to return from their unholy water grave – a cursed lake where the Spanish Inquisition held black masses and sacrificed children to appease evil spirits that would rise up in search of fresh blood.
At first, the town’s Mayor (Howard Vernon) refuses to take action, despite reported attacks on local women and the instance of a city journalist to investigate. But when a women’s basketball team is massacred and a local homicide squad arrives, the Mayor rally the townspeople to drive the Nazi soldiers into a infernal trap…
This 1981 Spanish-French horror film, which is also known as Le lac des morts vivants, was supposed to have been directed by Jesus Franco. But when he bailed Jean Rollin (Female Vampire) was roped in to put it together. But it’s a soggy mess.
Franco favourite Howard Vernon looks so bored as the Mayor of a picture postcard but deadly dull French town lives in a castle folly decorated in gargoyles; while the locals (made up of extras) seem to spend every waking moment in the town’s one and only tavern.
Lime green makeup is the only attempt at special make-up for the film’s zombies, so they end up looking like a bunch of Shreks in Nazi clobber – and certainly pale beside Shock Waves’ genuinely scary barnacle encrusted Storm troopers (that film’s highlight).
Interestingly, the zombie attacks come off as quite sexual, with lots of passionate kissing rather than any primal flesh tearing. Given Rollin’s penchant for eroticism, I wonder if this was his only creative contribution to the film, which some off a bit Benny Hill in its ludicrous attempts at titillation by chucking in nudity at every turn.
In a riff on Frankenstein and little Maria from the Universal classic, there’s a side story in which Helena (Anouchka), the 10-year-old daughter of one of the Nazi zombies befriends her undead dad (Pierre-Marie Escourrou, TV’s Une femme d’honneur) who ends up having to protect her from his bloodthirsty pals. This is actually more interesting than the main story, and provides the film with a moving (read: melodramatic) ending in which little Helena helps to release her dad’s restless spirit from its eternal torment.
The last 20-minutes sees the zombies walk very slowly into an ambush to the tune of an avant-garde score made up of drum and a harpsichord. It’s a bizarre choice, and just as patchy as the film as the music ranges from some melodramatic piano and string to jaunty la la la tunes every time there’s a nude swimming scene. And when the screen isn’t swelling with muzak, the incessant birdcalls are really grating.
Which leaves me with this last question: How would you react if your dead Nazi soldier dad came back as a pond dwelling green-tinged zombie?
Zombie Lake is out on DVD in the UK from Screenbound & Black House Films
In 1864, 18-year-old Ludwig II (Helmut Berger) ascends the throne of Bavaria. Following a scandal involving Richard Wagner (Trevor Howard) and his mistress Cosima von Bulow (Silvana Mangano), Ludwig is forced to expel them from Munich. Under pressure to marry, the latently homosexual king, who is having an intense relationship with Hungarian actor Josef Kainz (Folker Bohnet, agrees to an arranged wedding with his cousin Sophie (Sonia Petrovna). But the strain of this relationship, the war with Prussia, and fears of a conspiracy brewing his court play havoc on his mental state…
With a string of masterpieces behind him – including Ossessione, Senso, The Leopard and Death in Venice – director Luchino Visconti turned his attentions to King Ludwig II of Bavaria with this lavish 1972 historical drama that traces his bizarre 22-year reign, ending with his mysterious death in June 1886.
Sporting a sickly countenance and redden eyelids, Helmut Berger’s Ludwig cuts a miserable figure, who sinks further into despair and madness as he moves from one overly ornate palace and castle to another, which soon become gilded prisons, made all the more claustrophobic by the incessant rain and snow showers.
Featuring Armando Nannuzzi’s sumptuous cinematography and Piero Tosi’s Oscar-nominated costume design, Visconti mounts his epic of 19th century decadence on such an opulent scale – and in the very locations that the real king lived (*) – that it needs to be seen in its entirety to admire its dazzling operatic stature. And this new Arrow Academy release presents the film in its completed form in accordance with the director’s wishes, and – for the first time on home video – includes the English-language soundtrack.
Berger dominates every scene, but he does get some excellent support from the ever-reliable Trevor Howard, who is the spitting image of Wagner, and The House That Screamed’s John Moulder-Brown, as his mentally-unstable brother, Prince Otto, while Romy Schneider reprises her Elisabeth of Austria characterisation from the classic Sissi trilogy. The music includes Richard Wagner’s last original composition for piano, as well as works by Offenbach and Shuman. A melancholy masterpiece deserving of a revisit.
ARROW ACADEMY RELEASE
• 4K restoration from the original film negative
• High Definition Blu-ray (1080p) and Standard Definition DVD presentations
• Two viewing options: the full-length theatrical cut (1hr:15min) or as five individual parts (with the full pisodes 1-3 are on disc 2)
• Original Italian soundtrack with optional English subtitles
• Original English soundtrack available with optional English subtitles (This version also includes the Italian soundtrack where no English track was recorded… which makes for any interesting experience. But if you are familiar with Italian, then it works quite smoothly)
• Interview with actor Helmut Berger (OMG! Be afraid! Be very afraid! Helmut is very candid and very eccentric)
• Interview with producer Dieter Geissler (who also did Short Night of the Glass Dolls, Without Warning and The Neverending Story)
• Luchino Visconti: an hour-long documentary portrait of the director by Carlo Lizzani (Requiescant) containing interviews with Burt Lancaster, Vittorio Gassman, Francesco Rosi, Claudia Cardinale and others
• Speaking with Suso Cecchi d’Amico: an interview with the screenwriter
• Silvana Mangano – The Scent Of A Primrose: a portrait of the actress (30min)
• Theatrical trailer
• Collector’s booklet containing new writing by Peter Cowie (first pressing only)
DID YOU KNOW?
(*) The film was shot on location in Munich and Bavaria, including Roseninsel, Berg Castle, Lake Starnberg, Castle Herrenchiemsee, Castle Hohenschwangau, Linderhof Palace, Cuvilliés Theatre, Nymphenburg Palace, Ettal, Kaiservilla and Neuschwanstein Castle.
Roger Corman’s Death Race 2050 | This Wacky Races for the Trump era is a turbo-charged blast of popcorn fun
This ‘sequel’ to Roger Corman and Paul Bartel’s 1975 cult drive-in actioner Death Race 2000 is a hoot and a half – and finally consigns those dire Jason Statham/Luke Goss efforts to the wrecker’s yard.
Malcolm McDowall dials in another performance as the Trump-esque Chairman of the United Corporations of America who gets his bouffant comb-over in a twist when his four-time racing champion Frankenstein wants to retire from the ‘greatest pissing contest of mankind’ (aka the Death Race), which every citizen (now permanently unemployed) vicariously joins in via VR headsets.
Playing the man of many a spare part (and stepping into John Carradine’s black leathers) is Manu Bennett (TV’s Spartacus), who seems to be channelling Mel Gibson’s Mad Max as he sets off with his proxy Annie Sullivan (Marci Miller, Days of Our Lives) – who is secretly working for a resistance group – from Old New York to Los Angeles. But as they mow down ‘willing’ fans along the way to collect vital points, will trying to avoid some high calibre hospitality, hot on their tailgate is the genetically-modified superstar Jed Perfectus (Burt Grinstead), who’ll stop at nothing to beat them to the finish line…
This Wacky Races for the Trump era is a turbo-charged blast of popcorn fun that pays loving homage to the original (even down to the retro poster design), while also providing some thigh-slapping political satire by lampooning everything that is wrong with America today – from guns and religion to consumerism and social apathy.
Director GJ Echternkamp and co-writer Matt Yamashita inject loads of black humour into the film and its characters, who are great fun to cheer on or boo as they traverse America’s re-named cities and states like Upper Shitville (Baltimore), New Texxaco (Texas) and MeatPakistan (Kansas).
Amongst the racers are hip-hop star Minerva (Folake Olowofoyeku), whose latest hit song is ‘Drive… drive… drive… kill… drive…’; Tammy the Terrorist (Anessa Ramsey), a bible-bashing interfaith wack-job who is a ‘magnet for heathens’; and ABE, a KITT-like artificial intelligence who has an existential meltdown when he accidentally impales his sex-mad proxy to the hood of his bonnet.
Turning up the Roid Rage to warp factor 10 is Burt Grinstead as the sexually-ambiguous Perfectus, who reminded me of a closeted version of Gerrit Graham’s glam rocker Beef in 1974’s Phantom of the Paradise, while Yancy Butler (of Lake Placid and Witchblade fame) is the tough as nails Alexis, a former network programmer who now leads the resistance – a bunch of leather clad muscle boys. But for me, it’s Shanna Olsen who steals the show as the Hunger Games-styled news anchor Grace Tickle.
Among the many funny lines are ‘It’s hard to turn global famine into click bait’ and ‘I’ll drink your tears Frankenstein and lick them off your handsome face’, but the most chilling must be, ‘The world is fucking crazy, a sane person doesn’t stand a chance’. Considering what America is going through now, it might just be true…
The late-great Ib Melchior gets a credit at the end for it was his short story The Racer that inspired Corman’s original Rollerball rip-off in the first place… now, does anyone remember sales people?
Death Race 2050 is out on Blu-ray and Digital Download from Monday 20 March 2017
DID YOU KNOW? You can watch the original cult action film here – in full!
Multiple Maniacs (1970) | John Waters’ outrageously offensive Cavalcade of Perversion restored and on Blu-ray
Who knew that after nearly five decades in the cult underground, one of John Waters’ early homemade ‘celluloid atrocities’ would end up sitting alongside the works of Sergei Eisenstein, Ingmar Bergman and their kind? Well, his gloriously grotesque second feature Multiple Maniacs has achieved that rare feat thanks to an amazing restoration by Janus Films, who first brought world cinema to the American masses, and The Criterion Collection, who are now bringing their fantastic releases into the UK.
“Glorious . . . Can only be described as The Passion of the Christ on Quaaludes.”
The Hollywood Reporter
“Even the garbage is too good a place for it.”
Mary Avara, Maryland Board of Censors
Waters’ anarchic spoof on gore movies starred Divine (in his fourth Waters film) as Lady Divine, the crazed impresario of a performance art freak show in conservative Baltimore whose troupe of counterculture misfits use the show to rob their patrons.
When the sociopathic Lady Divine goes on the run after killing the latest arrivals to her debauched show, she’s sexually attacked by glue-sniffers and has anal sex in a church with a woman (Mink Stole) sporting a set of rosary beads before going on to commit more acts of atrocity – including devouring the internal organs of her ex-lover Dr David (David Lochary) who she kills for having an affair with another woman (Marty Vivian Pearce).
But the death of her prostitute daughter (Cookie Mueller) finally sends Lady Divine over the edge, resulting in her being raped by a giant lobster [spoiler alert!!!] before the National Guard take her out on a busy Baltimore street.
Made on a shoestring budget (funded by mum and dad Waters) and at the home where Waters grew up, Multiple Maniacs has become the transgressive director’s highest rated films (says Rotten Tomatoes) and an anarchic masterwork that the Pope of Trash has longed to see get a proper release.
After a screening of the last-ever 60mm print during a retrospective at Lincoln Center in New York in 2014, representatives of The Criterion Collection approached Waters about doing a restoration. Asked if he wanted to keep the film exactly as is, with all the mistakes included, Waters told them, ‘Are you kidding me? Make it look good!’ Having removed all the splice marks and dirt, Waters now describes his ‘celluloid atrocity’ as looking akin to ‘a bad John Cassavetes movie’. Joking aside, the restoration is truly astonishing given the film’s DIY nature – it was shot on an Arcon 0627 camera using reversal black and white film with the sound being recorded on a magnetic strip at the same time.
So did he go too far? Well, according to an interview he gave to The Guardian following a screening of the restored version, Waters said: ‘Of course I went a little too far! I did look at that rosary sex scene, at the people around me, and I could see the young audience in disbelief. At the same time, I think, how did I get away with this? How did any of this happen? Part of it was a time capsule. A very accurate picture of what my sense of humour, and what my friends were like at the time, which might scare some people. And in some ways, they should actually be scared of us.’ (1)
THE CRITERION COLLECTION RELEASE
• New 4K digital restoration, supervised by director John Waters, with uncompressed monaural soundtrack on the Blu-ray
• Audio commentary featuring Waters (Getting the lowdown on the movie from the horses mouth is truly hilarious and makes getting this release a must. I’ve actually listened to this twice now and can’t wait for round three).
• Interviews with cast and crew members Pat Moran, Vincent Peranio, Mink Stole, Susan Lowe and George Figgs
• Plus, an essay by critic Linda Yablonsky (not included with my screener).
The Love Witch (2016) | Prepare to be seduced, bewitched and beguiled – just watch out for the jimsonweed!
A deliciously visual confection that pays loving homage to vintage Hollywood glamour, melodrama and Technicolor, Anna Biller’s The Love Witch is a beguiling and bewitching feminist exploration of pathological love, desire and narcissism.
She Loved Men… To Death
Wiccan convert Elaine (Samantha Robinson) is determined to find a man to love her entirely. Fleeing San Francisco after the death of a lover, she takes up residence in a gothic Victorian apartment in a quaint town northern Californian, where she begins her search for the man of her dreams.
But her sex magic – which requires the use of the hallucinogenic jimsonweed – is so powerful it sends her suitors to an early grave, and when she does meet her perfect match in a detective (Gian Keys) who is investigating her, Elaine’s desperation to be loved sends her over the edge…
With its purposefully stylised look, drenched in a ultra vivid colour palette, Anna Biller’s The Love Witch certainly took my breathe away and reminded me of how excited I felt when I first laid eyes on the hyper-real styling’s of Rainer Werner Fassbinder’s Querelle, James Bidgood’s Pink Narcissus and Todd Haynes’ Poison and Velvet Goldmine.
Praise be Biller for taking over seven years to bring her feminist opus to cinematic life – and doing all the writing, direction and editing herself (as well as the sets, songs and paintings), while also working closely with cinematographer, M David Mullen (Jennifer’s Body and TV’s Extant), to achieve her desire to create a fun movie that uses her own cinema fantasies to ‘penetrate the visual world of an iconic witch’.
It’s certainly exciting for cinephiles like myself to catch all the references that Biller channels into the film: like the opening sequence that’s an intentional nod to Hitchcock’s The Birds – complete with retro rear-screen projection; Douglas Sirk’s soapy 1950s melodramas; and female-driven pictures like Mildred Pierce and Leave Her To Heaven.
And when it comes to the borrowed music, Biller cleverly chooses some evocative 1960s giallo scores by Ennio Morricone. Now I might be mistaken, but I think I also heard a mock-medieval melody from David Lee’s Masque of the Red Death score from Roger Corman’s 1964 Pathecolor horror classic – another film that made masterful use of a primary colour palette courtesy of Nicolas Roeg.
For me, the heavy use of reds, purples and blacks and the witches’ coven sequences reminded me of some other psychedelic American International Pictures-produced horrors like Count Yorga, Vampire and The Dunwich Horror. But Biller has gone on record to say that she was never influenced by what she calls these ‘exploitation movies’ as they were made purely for ‘male pleasure’.
Playing the deluded femme fatale, Samantha Robinson is totally bewitching as Elaine, who is part Stepford wife, part Samantha from Bewitched, but with the darker shades of Sandy Dennis in That Cold Day in the Park and a couple of Hitchcock heroines lurking behind inviting deep hazel eyes that stare directly at the camera in almost every shot. It’s a clever technique that effectively seduces the viewer into being drawn into Elaine’s deluded candy-coloured world.
Here’s how Biller viewed her intentions: ‘I wanted to make a movie about a witch, because I think that every woman is made to feel like a witch by the men who don’t understand her: that is, mysterious, dangerous, different, abnormal. Elaine is monstrous, wreaking havoc wherever she goes, but she is also sympathetic, because she has essentially been driven mad by being a woman, and is struggling to find love and acceptance in a world that has disappointed her at every turn.’
The gender politics of Biller’s The Love Witch is certainly ripe for closer examination and comment, and I look forward to revisiting the film when it gets its UK Blu-ray release on 13 March from ICON Entertainment. In the meantime, do yourself a favour and catch this on the big screen – you NEED to see it in all its 35mm glory.
Oh and for those of you who are film location fanatics (like me), Elaine’s Munsters-like Victorian mansion can be found at 916 13th St, Arcata, CA 95521.
The Love Witch is out in selected UK cinemas now.
If you’re already familiar with the outré cinema of Alejandro Jodorowsky, then you’re going to have a whole lot of fun spotting the real-life influences on his 1989 surreal horror Santa Sangre in this exuberant follow-up to his 2013 auto-biopic The Dance of Reality.
In 1940’s Santiago, alienated youngster Alejandro (Jeremias Herskovits) has an epiphany that his destiny is to become a poet. When he finally rebels against his ultra conservative father, Alejandro (now played by the director’s real-life son, Adan) moves in with a group of young anti-establishment artists, where he turns his hand to puppetry and clowning. Immersing himself in this carefree creative world, Alejandro’s metamorphosis leads him to discover an inner truth: that every path in life (both good or bad) is meant to be lived…
This is one Jodorowsky’s most personal films, where he strips away layers of ego to lay bare his inner self – and, in doing so, reveals up his influences for Santa Sangre. It’s also very much a family affair (both on and off-screen), for at the heart of his second auto-biopic is the troubled relationship that the director’s twentysomething self had with his father Jaime (played by another of Alejandro’s sons, Brontis).
Jodorowsky’s portrayal of Jaime is very much like the character of Orgo in Santa Sangre, which centred on the circus performer’s unstable son Fenix (who were played by brothers Adan and Axel) enacting revenge in the guise of his dead mother.
Watch carefully and you’ll spot a man with missing arms appearing in Endless Poetry. This is another reference to the director’s brilliant surreal horror in which Fenix’s mother Conchita has her arms cut off by Orgo after pouring acid on his testicles. Two other characters also appear – the Tattoo Lady (in the form of Alejandro’s red-headed muse) and the tutu-wearing Alma (as a dance-obsessed member of the art collective).
In Jodorowsky’s universe symbolism is everything, and here he weaves a visually-rich tapestry in which every image is a metaphor or signifier linked to the Tarot’s cycle of birth, death and renewal. Some images are quite strong – almost too much so, like the sex scene involving a dwarf having her period – but in Jodorowsky’s hand, these images become transformative rather than for shock value.
Others – like the incredible Day of the Dead carnival sequence – are just pure exalted joy. United these stunning images bring to visceral life the chaotic paths that we must all take to seek out our own inner truth, self enlightenment and life’s ‘endless’ poetry, which only Jodorowsky can get away with describing as ‘the luminous excrement of a toad that swallowed a firefly’ and make it sound truly beautiful.
Plagued with production problems, director Roman Polanski’s 1966 black comedy Cul-de-sac should never have worked – but it did and remains a critical high-point of his early career. Having won plaudits and good box-office receipts for his first British-backed film, the psychological horror Repulsion (starring France’s new star Catherine Deneuve), Polanski was given free reign for his follow-up which is now available in a restored HD transfer edition as part of The Criterion Collection.
Set on the Holy Island of Lindisfarne on the Northumberland coastline, Polanski fashioned a morbidly absurdist bourgeois-baiting tale with his long-time collaborator Gérard Brach.
Happening upon an castle on the coastline, wounded American gangster Richard (Lionel Stander) and his gravely ill accomplice Albert (Jack MacGowran) decide it an ideal hide and so take hostage its owners – retired businessman George (Donald Pleasence) and his restless French wife Teresa (Françoise Dorleac).
But the claustrophobic setting and long wait for help to arrive sets in motion increasingly disturbing games involving sexual and emotional humiliation between captor and couple that escalates into terrible violence…
When Cul-de-sac was released in the UK in 1966 (check out the premiere clip below), audiences really didn’t take to the film (probably on account it was too bleak and not the psychological horror that they had hoped). But when it then won the Golden Bear at the 16th Berlin International Film Festival, it quickly gained a new appreciation – and so it should.
From its outset, Polanski had faith in bringing his bleak comedy of manners to the big-screen and against the odds and by going rogue he achieved it.
A typically British summer (rain, snow and storms) and the wrong tides held up shooting, while method actors Stander and Pleasence caused ructions on set, and Polanski was accused of driving his cast and crew to exhaustion, hypothermia (MacGowran) and near death (Dorleac almost drowned) in order to finish the film to his exacting standards. Even the locals began to resent Polanski and co’s presence (especially in the local pubs).
Meanwhile, the film’s fed-up backers (Compton Films’ Tony Tenser and Michael Klinger) eventually shut down production after it overrun its budget– but not before Polanski had the film’s powerful 8-minute one-shot climax involving a Tiger Moth plane in the can.
Donald Pleasence is in his element as the dotty fed-up George, and his performance ranks as one of his best (alongside his alcoholic doctor in 1971’s Wake in Fright). Françoise Dorleac is also perfectly cast (also at the last minute) as the hippy-like Teresa – and her character is the total anti-thesis of her sister Catherine Deneuve’s sexually repressive character in Repulsion. Then there’s the gravel-voiced Lionel Stander (who’d go onto play Max in TV’s Hart to Hart), who is outstandingly repellent as the chief thug. Tragically, Dorleac died in a car accident a year after appearing in the film.
The other star of the film is Holy Island and the surrounding landscape, made luminous by Gilbert Taylor’s stark black-and-white photography – and the inclement weather (those skies are divine, especially when shot day for night).
And alongside the rich visuals is Krzysztof Komeda’s jaunty score that lends the film a sense of carnival and menace, two elements that are that the heart of this caustic satire (which would look terrific if it were adapted for the stage like Polanski’s follow-up film, Dance of the Vampires). Watch for Jacqueline (billed as Jackie) Bisset, briefly on screen in one of her earliest roles.
THE CRITERION COLLECTION RELEASE
• Restored high-definition digital transfer, approved by director Roman Polanski, with uncompressed monaural soundtrack
• Two Gangsters and an Island: the 23-minute 2003 Blue Underground documentary (23min) about the making of the film, featuring interviews with Polanski, producers Gene Gutowski and Tony Tenser, and cinematographer Gilbert Taylor. Also participating are production designer Voyek, continuity Dee Vaughn and actor William Franklyn
• Archive TV interview with Polanski from 1967 (this is a fascinating insight into the young director’s cinematic vision about alienation, sex and his genuine dislike for the bourgeoisie)
• Theatrical trailers
• Plus, booklet featuring an essay by film critic David Thompson
We all know Rupert Everett for his foppish roles in a host of costumes romps, being GBF to Julia Roberts and Madonna in a couple of rom-coms, and for pulling on a frumpy dress to play an eccentric headmistress in the St Trinian’s movies, but did you know that back in the 1990s he also tried his hand at horror? It was in 1994’s Dellamorte Dellamore (aka The Cemetery Man), a strange brew of Italian arthouse cinema, horror comedy and Terry Gilliam-style absurdist humour, is director Michele Soavi’s adaptation of a novel by Dylan Dog comic book creator Tiziano Sclavi.
Everett plays Francesco Dellamorte, the complacent world-weary caretaker of the Buffalora cemetery, where the dead come to life seven days after burial. Francesco’s job is to terminate these ‘Returners’ before they escape over the walls. Cynical, amoral and fearful of an outside world where falling in love only ends in rejection, Dellamorte prefers the company of the (un)dead and his routine existence in the cemetery which he tends the help of his faithful assistant, Gnaghi (François Hadji-Lazaro).
But when Dellamorte does allow himself to fall in love – with a young widow whom he accidentally kills – his enchanted world is suddenly thrown into total chaos. What follows can only be ‘experienced’ as it’s a real rollercoaster ride of quirky and surreal happenings – a sort of Groundhog Day set in a graveyard.
Dellamorte Dellamore is stunning to look at – filled with the kind of light and colour that’s reminiscent of Mario Bava’s Italian horrors of the 1960s, while the use of an actual cemetery (in Guardea, Umbria) makes it even more fantastical. Everett is a bit wet as the titular hero (he’s certainly no Bruce Campbell), but Hadji-Lazaro is a revelation (his side story is a real treat). The humour might be a bit hit and miss, but it’s the visuals that will stay with you (my favourite – the talking head in a broken TV).
Back in 2012, Shameless Screen Entertainment re-released this mini-masterpiece onto DVD and got director Michele Soavi and writer Gianni Romoli together to share their thoughts (in Italian) as a special feature. I’ve been watching it over and over every since, and revisited it again last night after checking out Shameless latest additions to their Soavi collection The Church and The Sect (check out my review real soon).
Out on DVD through Shameless Screen Entertainment