THE STRANGE VICE OF MRS. WARDH -- Blu-ray Review by Porfle

 

Originally posted on 6/13/20

 

I'm not as well-versed about giallo as the popular Italian genre's more fervent fans, so it's fun to run across a choice selection such as THE STRANGE VICE OF MRS. WARDH (Severin Films, 1971) and enjoy it to its fullest while discovering even more reasons why the best of these films are so much fun in the first place.

Lovely cult favorite Edwige Fenech (ALL THE COLORS OF THE DARK) stars as Julie, a sadly-neglected wife returning to Austria from America because her wealthy Wall Street tycoon husband Neil (Alberto de Mendoza, HORROR EXPRESS) has business there.

Julie, it turns out, has some business of her own, which is mainly to hesitantly fall sideways into a romantic tryst with persistent suitor George (George Hilton, ALL THE COLORS OF THE DARK) while avoiding former lover Jean (Ivan Rassimov, EATEN ALIVE), a first-class creep who had a sick relationship with Julie years ago and who may or may not be the razor-wielding, throat-slashing psycho killer currently terrorizing the city.

 
Julie's sassy best friend Carol (Cristina Airoldi) just happens to be George's cousin and is about to share with George a windfall inheritance from a recently-deceased uncle.

Not only is Carol a fun character who gets to speak her mind about everything, but she also throws a fun party (where Julie first runs into Jean again) which embodies the late 60s-early 70s ambience of the film right down to two party girls in paper dresses having a catfight in which they claw each other's clothes off. (Carol will also play a key role in one of the film's finest sequences, an eerie rendezvous with someone who may be the killer.)

What really gets the giallo juices flowing is when the mysterious killer suddenly and for no apparent reason takes a distressingly keen interest in Julie, right down to peering through the window during one of her naked romps with George and sending her flowers along with creepy, cryptic messages. Julie and husband Neil are convinced that the culprit is the already scary Jean. But is he too obvious a suspect?

 
Director Sergio Martino (ALL THE COLORS OF THE DARK) and co-writer Ernesto Gastaldi keep us guessing for the film's entire running time as we ponder the guilt or innocence of just about every main character besides Julie as evidence shifts back and forth and red herrings abound.

Meanwhile, we're treated to some murder setpieces that are both genuinely creepy and unsettling but also manage to generate Hitchcock-level suspense for sustained periods of time.

One in particular takes great pictorial advantage of a terrific outdoor location to present a stalking scene that is deeply nerve-wracking. And in each case, that gleaming straight razor is always poised for bloody carnage.

With Julie's guilt over cheating on her husband compounded by fear of her elusive stalker, even the story's romance elements have a queasy decadence that keeps us on edge.  This includes a flashback of Julie's sick affair with Jean, a beautifully shot, dreamlike passage with him slapping her repeatedly by the side of the road in slow-motion during a driving rainstorm.

Director Martino  is the equal to fellow Italian giallo maestro Dario Argento in such matters, perhaps not with as fine a degree of photographic artistry but driven by the same surehanded directorial finesse that creates memorably effective scenes. 

 
The Blu-ray from Severin Films is "newly scanned in 4k from the internegative" and boasts their usual well-stocked bonus menu including interviews with director Martino, co-writer Gastaldi, actor George Hilton, and, in archival footage, Edwige Fenech. There's also an audio commentary with Kat Ellinger, author of ‘All The Colors Of Sergio Martino’, a trailer, and last but not least a bonus CD of the film's lush, lively soundtrack music.

After putting us through the mill for the entire length of the film, THE STRANGE VICE OF MRS. WARDH ends on a shocking note, then pulls a fast one on us that's even more shocking and, ultimately, delightfully satisfying. It left me happy and content that once again a really good giallo had worked its magic on me.



Buy it from Severin Films

Special Features:

    Of Vice and Virtue: Interview with Director Sergio Martino
    Cold As Ice: Interview with Screenwriter Ernesto Gastaldi
    Vienna Vice: Interview with Actor George Hilton and Italian Genre Historian Antonio Bruschini
    Archive Interview with Actress Edwige Fenech
    Introduction by Actor George Hilton
    Audio Commentary with Kat Ellinger, Author of ‘All The Colors Of Sergio Martino’
    Trailer
    CD Soundtrack [Limited to 3000 Units]
    The Strange Vice of Mrs. Wardh Comic Book [WEBSTORE EXCLUSIVE]

 

THE STRANGE VICE OF MRS. WARDH -- Blu-ray Review by Porfle

CASTLE OF THE CREEPING FLESH -- Blu-ray Review by Porfle

 

(Originally posted on 2/4/21)

 

Fans of creepy old castles filled with evil curses--not to mention creeping flesh--will no doubt find the title CASTLE OF THE CREEPING FLESH (Severin Films, 1968) an irresistible invitation to explore the darkest nooks and crannies of this murky German horror-fest.

We're introduced to decadent urban party animals Baron Brack (Michel Lemoine, KISS ME MONSTER) and the lovely but somewhat sleazy Elena (Elvira Berndorff) as they ditch one wild party in favor of a more private one at Brack's secluded villa.

They're joined there by a gaggle of other funseekers, but not before Brack appears to rape Elena in a frenzy of wild-eyed lust. But we wonder about the obviously conflicted Elena since she begins to urge "Harder!" during the act and then spends its aftermath with a dreamily ecstatic look on her face before fleeing into the dark forest.

 

At last they all end up in the even more secluded title castle where the dreaded Earl of Saxon (Howard Vernon, SHE KILLED IN ECSTASY) and his mad, hulking servant Alecos (Vladimir Medar) are quite clearly up to no good behind the Earl's eerily placid fascade, and it all has something to do with the cursed history of his family--including rape, murder, and other unpleasant goings-on.

There's also a dungeon-like surgical cellar with two strangely-garbed doctors wielding some scary-looking scalpels and other instruments as they perform horrific acts on sheet-shrouded patients for no telling what sordid and sinister reasons which, shockingly, will eventually involve the one somewhat likable member of the party, Marion (Claudia Butenuth).

It's all rather solidly set in the "old, dark house" vein but with heaping helpings of sexual perversion (most of the film's alternate titles and publicity seem to feature the word "lust"), including a generous amount of nudity for 1968, and some good old fashioned violence, not the least of which involves a rampaging bear.

 

None of which, to be honest, is all that interesting or exciting save for those who are really into this sort of lurid late-60s Eurosleaze and don't mind settling in for a slowburn sort of plot that takes its sweet time leading us through its various twists and turns.

As such, it's not a bad way to spend an hour and change, although the frequent insert shots of an actual living creature being sliced open and having its still-pulsating internal organs poked and prodded for real are jarringly out of place and seem designed to appeal to the basest blood lusts of a limited segment of the viewing audience. This queasy footage is severely inappropriate and woefully unnecessary to what is already an adequately horrific film on its own.

Still, the creepy-old-castle fans out there with a sweet tooth for 60s Euro-cinema of the gloomily Gothic variety should have little trouble enjoying CASTLE OF THE CREEPING FLESH, at least to a sufficient extent to warrant giving it a visit. Others, however, are advised to attend a more conventional party like the one depicted during the main titles and limit their castle excursions to Disneyland.



Buy it from Severin Films



Special Features:

    Adrian in the Castle of Bloody Lust – Archival Interview with Joyce Hoven and Percy Hoven
    MARK OF THE DEVIL Q&A with The Hoven Family at Austrian Pulp Film Fest
    Locations Featurette
    Trailers – English / German / Alt Title APPOINTMENT WITH LUST
    Textless Opening Credit Sequence
    German Opening Credit Sequence

Disc Specs:

    Scanned uncut & uncensored from the German negative for the first time ever in America
    Aspect Ratio: 1.66:1
    Audio: English Mono and German Mono
    Subtitles: English
    Closed Captions: English SDH
    Region 0/Free

CASTLE OF THE CREEPING FLESH -- Blu-ray Review by Porfle

CRUEL JAWS -- Blu-ray Review by Porfle

 

 Originally posted on 9/22/20

 

Bruno Mattei's work as a director ran hot and cold, but oddly enough, he was at his hottest when his work was at its worst and most derivative (as in SHOCKING DARK and VIOLENCE IN A WOMEN'S PRISON) because that's when it was the most perversely entertaining.

Whether CRUEL JAWS (Severin Films, 1995) reaches that degree of cinematic heat is up to the viewer whose interests lie in movies that are so bad they're good.  This blatant rip-off of JAWS (and elements of its various sequels and other rip-offs) is loaded with badness to spare, yet even this doesn't always get us through several of the just-plain-boring stretches.

The story concerns an oceanographer named David (David Luther) who arrives at the oceanfront marine park of his friend Dag (Sky Palma) just in time to find out that (1) there's a killer shark on the loose and (2) Dag's about to lose his lease to evil landlord Samuel Lewis (George Barnes), who wants to build a new hotel on the property, unless he can come up with a chunk of cash in 30 days.

 

This leads to one of the film's major setpieces, a windsurfing race with a fat prize that will pit Dag's son Bob against Lewis' son Ronnie, who, incidentally, is the overprotective brother of Bob's girlfriend Glenda.

As you might guess, the race becomes a shark smorgasboard with plenty of screaming and panicking as the shark enjoys the equivalent of a human sushi platter. Not only does the famished fish eat everyone in sight, but he manages to chomp his way through most of the boats in the vicinity as well.

Later, of course, the brave good-guy shark hunters set off aboard their hardy vessel but this time with competition from the bad guys who, as per Peter Benchley's crummy original shark novel, have mob connections interested in the town's real estate. 

Another boatload of youths in pursuit of the shark (with pump shotguns, no less!) muck the whole thing up so badly that they provide the film with one of its most wonderfully explosive moments in which a sizable number of supporting characters blow themselves into fried chum chunks.

While all this is going on, Mattei (under the pseudonym "William Snyder") is having a field day cooking up bad reenactments of scenes from the JAWS franchise with the greedy businessman wanting to keep the beaches open, the frantic sheriff trying to close them, and young people serving themselves up as shark chow while cavorting around in bikinis, having romantic complications, and spouting some of the worst dialogue to ever bend your unsuspecting eardrums.

As for the shark effects, Mattei (who also gave us such films as ROBOWARS and ISLAND OF THE LIVING DEAD) uses a heap of stock footage of live sharks, some of which is pretty well integrated, along with a surprisingly good giant shark head that pops out of the water and often has one of the less fortunate characters hanging out of its mouth. 

The Blu-ray from Severin Films contains an unreleased Japanese extended cut (known as "The Snyder Cut") in its entirety. Extras also include "The Great White Way: A Study In Sharksploitation With Rebekah McKendry", "These Things Got Made!: Interview With Actor Jay Colligan", and the film's trailer.

It all builds to a rather bland finish, with Spielberg's reputation as the number one purveyor of shark-movie suspense and excitement remaining comfortably secure.  But while film fans who strictly limit themselves to "good" movies will find this one easy to avoid, those who love to settle in for a session of mind-warping badness will endure the slower scenes in CRUEL JAWS just to savor its tastier tidbits.



Buy it at Severin Films


Special Features:

    The Snyder Cut – Unreleased Japanese Extended Cut
    The Great White Way – A Study in Sharksploitation with Rebekah McKendry
    These Things Got Made! – Interview with Actor Jay Colligan
    Trailer

CRUEL JAWS -- Blu-ray Review by Porfle

WHEN THE WIND BLOWS -- Blu-ray Review by Porfle

Originally posted on 4/24/20

 

Did you ever wonder what it would look like if THREADS had a cartoon-animated subplot? Or if the creators of "Wallace & Gromit" had placed their beloved characters in the middle of a nuclear holocaust?

Children's author Raymond Briggs conceived such an idea in a graphic novel which a group of filmmakers including director Jimmy T. Murakami (HEAVY METAL, BATTLE BEYOND THE STARS) brought to the screen, thus giving us the entrancingly compelling cinematic oddity entitled WHEN THE WIND BLOWS (Severin Kids, 1986).

Unlike the frantically alarmist apocalypse thrillers to which we're accustomed, this tale of an elderly couple whose peaceful retirement is shattered by nuclear war is quietly, disarmingly genteel.

We first see them enjoying a typical day in their secluded cottage, chatting absently about tea and gardening and such, while news of impending war sparks Jim's interest and motivates him into a mildly industrious fervor of preparation that brings back nostalgic feelings of the Blitz.

Meanwhile, Hilda (whom Jim endearingly calls "Ducks") refuses to entertain the notion that anything could disturb their blissful daily routines, their ability to pop down to a shop for fresh food or other supplies, or their access to telly or radio plays. 

These are the sort of likable, roundly-drawn cartoon characters (they look a bit like cuddly plush dolls) we know from a thousand children's books and movies, characters whose only concerns should be gentle, placid ones such as, say, a naughty bunny rabbit helping himself to their carrot garden.

Here, however, their idyllic lives are disrupted when the harsh, cruel reality of the really-real world ruptures the curtain of their cartoon dimension and leaves it all a charred, smoking ruin with a dark cloud of radioactive fallout drifting through it.

Jim and Hilda are similar to the older couple in THREADS with their lean-to shelter in the livingroom providing sparse protection against the blast and their halfhearted efforts to stock food, water, and other necessities quickly proving inadequate. 

What makes them different is that they continue to behave just like endearing cartoon figures out of a children's story, with Jim remaining a font of quiet optimism--after all, they lived through something similar back when they fought the Jerries--and Hilda blessedly oblivious to the fact that she can't just tidy things up and wait for the milkman to come.

The restraint shown by the filmmakers in not giving in to the usual dramatic overkill makes the encroaching horrors Jim and Hilda inevitably face seem even more wrenching, with their continued devotion to each other through it all especially heartrending as their ordinary storybook lives crumble to dust.

Artwork and animation are expertly done, using a combination of various methods such as cel animation, a bit of CGI, what appears to be some miniature work on the interiors, and the occasional well-integrated live action footage. 

The musical score includes songs by David Bowie, Roger Waters, and others. Jim and Hilda are wonderfully voiced by venerable actors Sir John Mills and Dame Peggy Ashcroft.

The Blu-ray from Severin Films' "Severin Kids" label contains their usual ample menu, including a documentary about the director ("Jimmy Murakami: Non Alien"), a making-of featurette ("The Wind and the Bomb"), an audio commentary with first assistant editor Joe Fordham and film historian Nick Redman, an interview with children's author Raymond Briggs, an original public information film ("Protect and Serve"), isolated music and effects audio track, and trailers.

In its own remarkable way, WHEN THE WIND BLOWS is one of the darkest and most disheartening of the post-nuclear nightmare tales. It's like watching Wallace and Gromit slowly withering away from radiation poisoning, and, worst of all, Wallace finally realizing at the point of dying that there may never, ever be any more cheese.


Buy it from Severin Films

Special Features:

    Jimmy Murakami: Non Alien – Feature Length Documentary About the Film’s Director
    The Wind and The Bomb: The Making of WHEN THE WIND BLOWS
    Audio Commentary with First Assistant Editor Joe Fordham and Film Historian Nick Redman
    An Interview with Raymond Briggs
    Protect and Survive: Public Information Film Designed to be Broadcast When a Nuclear Attack Was Imminent
    Isolated Music and Effects Audio Track
    Trailers

WHEN THE WIND BLOWS -- Blu-ray Review by Porfle

BLOOD & FLESH: THE REEL LIFE & GHASTLY DEATH OF AL ADAMSON -- Blu-ray Review by Porfle

 Originally posted on 4/22/2020

 

Filmmaker Al Adamson made a lasting name for himself by creating lurid low-budget exploitation movies with that indefinable "so bad it's good" greatness that many strive for but few achieve.  A well-made documentary about his lively career would be interesting enough, but even more so if his personal life ended on a note that was way more fascinating, mystifying, and downright creepy than any of his actual films ever came close to being.

BLOOD & FLESH: THE REEL LIFE & GHASTLY DEATH OF AL ADAMSON (Severin Films) is that documentary, and it's well-made indeed. It's tricky to construct a documentary with just the right balance of talking heads and informative narration, along with movie clips and other audio-visual elements, while maintaing our interest to the same degree as a fictional narrative, and this one does so in a way that's utterly involving.

Any collection of clips from Adamson's films would be fun to watch, and here we get plenty of footage from such trash classics as "Satan's Sadists", "Horror of the Blood Monsters", "Brain of Blood", "The Female Bunch", "Blazing Stewardesses", and of course what some might consider his magnum opus, the immortal "Dracula vs. Frankenstein."

These are augmented by interview clips with the most important players in the Al Adamson saga, including (besides Al himself) such familiar names as Vilmos Zsigmond, Russ Tamblyn, Fred Olen Ray, Gary Graver, and many others who offer a wealth of personal stories about working with a man whom most remember very fondly, some with gratitude for helping them begin successful careers in the film business.  (Celebrated cinematographer Laszlo Kovacs also started out with Adamson.)

Best are the stories of Adamson's endearing eccentricities and his devotion to making films not to win awards but simply to entertain the masses, using his imagination and ingenuity to overcome meager budgets and resources that would severely daunt other struggling filmmakers.

His exploits in the field serve as a primer for others wishing to follow in his footsteps and are scintillating stuff for those of us who simply love hearing about such adventures.

Adamson's efforts to knock together these films, usually offering his cast and crew valuable experience rather than money, also include the fascinating field of promotion and distribution in which such commodities were sold to the public in whatever form and by whatever means would be most exploitable.

Thus, a film about outlaw bikers might, if trends suddenly changed, be transformed through editing, reshoots, and a new title into a horror or crime thriller.

Conversations with Oscar-winner Russ Tamblyn are fun since he takes an amusedly lighthearted view of his association with the B-movie maven. Like many stars persuaded to participate in these films, Tamblyn was a big name on his way down who was happy for the work since Hollywood was no longer calling. Others included the likes of John Carradine, Kent Taylor, Broderick Crawford, Yvonne DeCarlo, J. Carroll Naish, and Lon Chaney, Jr.

The latter two joined Tamblyn for what may be Adamson's most celebrated classic, "Dracula vs. Frankenstein", which underwent drastic thematic changes during its creation (the original script didn't even include the title monsters).

Dealing with an alcoholic Chaney and a wheelchair-bound Naish, with his noisy dentures and inability to remember his lines, are just two of the interesting elements of this film's production.I had the pleasure of seeing it on a double bill with "Horror of the Blood Monsters" back in the 70s, a movie-going experience that I still treasure.

Long-time producer and partner Sam Sherwood adds invaluable personal knowledge of everything including Adamson's devotion to his wife Regina Carrol, a blonde bombshell who starred in many of his later films until her untimely death from cancer, and a strange project he undertook concerning UFOs and aliens which Sherwood believes was discontinued under shady circumstances involving the government.

But most mysterious of all are the circumstances surrounding Adamson's death, the details of which are fully explored in the film's final third and have all the morbid fascination of an Ann Rule true-crime book.

Even the director's previous association with Charles Manson and his flaky followers at Spahn Movie Ranch pales in comparison to the story of his disappearance from his desert home and the following investigation which uncovered a grisly fate that's right out of a horror movie.

The Blu-ray from Severin Films consists of not only this film but a bonus feature, Adamson's 1971 sleazefest "The Female Bunch" which co-stars a hard-drinking Lon Chaney, Jr. as well as Russ Tamblyn and Regina Carrol.  Pieced together from the best available elements, the print has a delightful grindhouse feel.

The disc also offers some irresistible--one might even say essential--outtakes from the documentary including an in-depth look at Adamson's western movie star father Denver Dixon, Russ Tamblyn's mysterious melted TV, some more creepy stuff about Charles Manson, and a promo reel for that eerie, unfinished project about aliens and UFOs.

Regardless of the man's gruesome demise, however, what lingers most for me after watching BLOOD & FLESH: THE REEL LIFE & GHASTLY DEATH OF AL ADAMSON is his joyous devotion to making exploitation movies and, we discover, his delight that after many years they were still being enjoyed and even revered by fans old and new.  That many of his most fervent fans include the very people who knew him best is a testament that this documentary so richly conveys.



Buy it from Severin Films

Special Features:

    Outtakes – The Cowboy Life Of Denver Dixon, Russ Tamblyn’s Melted TV, Manson & Screaming Angels, and The Prophetic Screenplay Makes Gary Kent Testify
    Beyond This Earth Promo Reel
    Trailer
    BONUS FILM: The Female Bunch
    The Bunch Speaks Out
    THE FEMALE BUNCH Trailers
 

BLOOD & FLESH: THE REEL LIFE & GHASTLY DEATH OF AL ADAMSON -- Blu-ray Review by Porfle