robert_deveau Reviews

Fantômas: L'échafaud magique (1980) Season Unknown, Episode Unknown

Solid adaptation from French television

[8/10 · 15 August 2014]

This is the first episode in a four-part series originally broadcast on French TV in 1979; two episodes directed by Claude Chabrol (this is one), the other two directed by Juan Luis Bunuel. Its a solid, pretty faithful adaptation of the first Fantomas novel published in 1911. The series is slightly updated to the 1920's, with the gory violence of the novel played down but the mild eroticism intact. Helmut Berger is good as Fantomas in his many disguises (including the fey actor Valgrand), Jacques Dufilho is good as Inspector Juve, and Gayle Hunnicutt is perfect as Lady Beltham. It appears that Berger and Hunnicutt have been dubbed by French actors. Similar to BBC mysteries from the same period, it is currently available on an inexpensive two-DVD set from ina.fr.

The Adventures of Hercules (1985)

So Bad Its Good!

[8/10 · 26 October 2005]

Boy, do I strongly disagree with the other commentators on this movie! This is a terrific example of a film that is so over the top, so loaded with wacky ideas, so determinedly wrong, that it is thoroughly entertaining. The outrageous dialog, deadpan or hammy acting and glowing tinker toy special effects alone make it worth watching; add outlandish costumes, a story that makes no sense, and references to (one might uncharitably say rip-offs of) everything from "King Kong" to "Star Wars", and how can you lose? When I watch a sword and sandal movie, I want beautiful babes, a musclebound hero, and monsters: "The Adventures of Hercules" has all of this and so much more! Lou Ferrigno may not be Steve Reeves or Gordon Scott, but as Hercules, he's vastly preferable to Kevin Sorbo. So, I have to give this unacknowledged classic an "8". If you liked "Hercules Against the Moonmen you'll love this!

A Name for Evil (1973)

Brilliant Score

[6/10 · 24 October 2005]

Others have commented on the evidently different versions of this film, the nudity, beautiful cinematography, and scrambled plot. My two cents: "A Name For Evil" looks like a film that has gone through many hands. It definitely has it's strengths: the afore-mentioned photography of some spectacular locations, good performances from Culp and Egger, a stunning evocation of early '70's wackiness, and a few nicely creepy moments.

But I have to mention something else no one else has yet talked about: Dominic Frontiere's grand score. If you like Frontiere's work, especially his "Outer Limits" music which this strongly resembles, you owe it to yourself to at least listen to this movie.

Hercules (2005)

Recipe for a Sword & Sandal Movie

[7/10 · 18 May 2005]

What are you all complaining about? NBC's HERCULES had everything I want in a Hercules movie:

Recipe for a Sword & Sandal Movie:

Ingredient 1: A Hero With Muscles. Step aside, Kevin Sorbo. The young actor cast as Herc is no Steve Reeves -- but then, neither was Reg Park or Ed Fury. At least he had big muscles and an enthusiastic delivery. Given that he plays Herc at the beginning of his heroic career, his lack of facial hair was perfectly acceptable. Mythology often characterized Herc as somewhat of an oaf, and the likable goofus who becomes a confident hero worked well in the context of this movie.

Ingredient 2: A Heroine With Big... Hair: The six foot tall Leelee Sobieski would have been better cast as an Amazon rather than a wood nymph, and her golden body makeup, subtle and effective in close-up, turned bright orange in longshots (not her fault), but she's always a likable presence and in the final battle she wields a bow with the best of 'em. As soon as she fondles the wounded Herc's pecks, she falls for The Big Lug, and eventually gives him the loving family he so desires. What more motivation does a sword and sandal character need? (The obligatory "heroine caught bathing in the river" scene was also nicely done. )

3: A Hissable Villain: In this case two of 'em, Eurystheus the gay king and Antaeus the brute whose strength comes from contact with the Earth. Though the movie takes liberties with the identity of Antaeus, they were perfectly acceptable within the context of the convolutions of mythology (Oedipus just happens to meet his dad on the road and kill him? What are the odds of THAT?). Its called Dramatic License.

4: A Villainess With Eye Shadow: Herc's mom Alcmene is a B-level Livia (from I, CLAUDIUS), and Elizabeth Perkins plays her for all she's worth. She and her younger accomplice Megara make for a nice tag team of bad girls.

5: Monsters: Though some of the CGI was on the level of a Terrytoon, the Hydra was very nicely done, even moving like a Harryhausen monster. Add centaurs, satyrs, harpies and a Nemean Lion more like a Lion Monster, and I'm a happy viewer.

6: Speeches Delivered To The Gods: Any movie that opens with Timothy Dalton (as Herc's dad Amphitryon) standing on the bow of a storm-tossed ship bellowing "ZZZEEEEEEEUUUUUSSSS!!!!!!!" is off to a good start. Sacrifices to Hera and Herc's speech to The Gods -- sounding like a modernization of The Lone Ranger Creed -- add up to plenty of enjoyably cheesy histrionics.

7: An Oracle: In this version, its Alcmene who castrates the hermaphroditic Tiresias, turning him into the Oracle of Delphi. Gotta getta prophesy.

8: Battles & Fights: Lots of 'em, with swords, bows, clubs, men against men, men against monsters, The People against soldiers -- if they'd had kitchens in ancient Thebes, Herc would have wielded a sink, I'm sure.

9: A Comic Relief Sidekick: Linus the lute player, played by everyone's favorite sidekick of the moment, Sean Astin. A few pratfalls and wisecracks, and loyalty to The Hero.

All in all, this movie was far more faithful to the Hercules myth than any other version made. They even tackled Herc's murder of his own children, successfully weaving it into the story of Herc's self-actualization. The violence is bloody, the sex is sexy, and Herc's weapon of choice is a big fat club. When this comes out on DVD, I'm watching it again.

Tomorrow We Live (I) (1942)

Worth Seeing For Ulmer Fans

[22 September 2004]

After an opening sequence featuring stock footage so dark and dupey that its difficult to tell what we're seeing, the film proper begins (and lightens up to acceptable visual quality) and moves into Pop Bronson's (Emmett Lynn) desert diner. We find Pop in mid-conversation with his daughter Julie (Jean Parker, who also starred in Ulmer's BLUEBEARD) who has just dropped out of college. Pop has been sending her money for years to put her through school and he's understandably upset about her sudden, inexplicable dropout. The scene is deliberately disorienting, as it takes a while before we understand the context of their conversation. When Julie accuses her father of black marketeering (this is war time, after all), Pop gives her a vicious slap. The whole scene prepares us for an unsettling experience which the film does not deliver until it's more than half over, settling in to long soap opera conversations filmed in uninteresting master shots. We meet Ricardo Cortez, gangster owner of a desert night club, who has earned the moniker of "The Ghost" for his survival of two attempts on his life. Thirty-five minutes into this barely 63 minute movie, the guns start blazing, the camera begins to move and the editor wakes up. Julie's Army boyfriend shows up to give The Ghost a major dressing-down, comparing him to Hitler and warning him that the honest little people will soon beat his pants off. Instead of the little people, its a rival gangster who beats The Ghost nearly to death and burns down his club, driving the man mad. The film now races to a speedy, suspenseful conclusion. In his career-spanning interview with Peter Bogdanovich Ulmer described this as a horror film influenced by Grand Guignol (which it is not), but its opening scene, final 30 minutes, odd patriotic imagery and good performances from Cortez and Parker make it worth seeing for anyone interested in Ulmer's career of making something out of nothing.

Voyage to the End of the Universe (1963)

It Was Never in Color

[10 May 2004]

I just saw a gorgeous, widescreen, subtitled print of "Ikarie XB 1", also known as "Voyage To The End of the Universe", at Boston's Museum of Fine Arts. The print, restored by the Czech studio that originally released it, is in black and white, and was obviously shot that way. Its complete running time is listed in the program notes as 84 minutes, though it may have been a few minutes longer. (I should have checked my watch). Like several others who've commented on this, I first saw this movie as a kid when AIP released a dubbed version in the 60s. Its definitely not a kiddie movie, and is still quite impressive for its effects and production design, as well as its intelligent story.

Nancy Drew... Trouble Shooter (1939)

Nancy Drew, Parody

[16 September 2003]

Though I've enjoyed the four Warner Bros. Nancy Drew films for their fast pace, snappy dialog and light touch, Bonita Granville doesn't bear much resemblance to the hyper-perfect Nancy of the long-running series of novels. The main drawback to the literary Nancy is that she's too perfect, even winning a golf tournament against a superior, more experienced player in THE HAUNTED BRIDGE. In TROUBLESHOOTER, (which bears the least resemblance to the books of any of the four films), Nancy's perfection is taken down a few notches: she can't drive (rear-ending several parked cars, constantly taking her hands off the wheel in her excitement), she can't cook (making a veritable Lucy of the kitchen), she allows the bad guys to destroy evidence -- why, she's as scared of ghosts as Willie Best and she can't even fly an airplane! NANCY DREW, TROUBLESHOOTER, with its general lack of mystery and constant slapstick, is essentially a parody of Nancy Drew. Fun, and satisfying in a slightly sadistic way, but nothing like the books.

Baal (1982 TV Movie)

Excellent BBC version of tough Brecht play

[9/10 · 25 August 2003]

"Baal" was the first play written by German dramatist Bertolt Brecht, one which he constantly rewrote throughout his entire life. David Bowie is perfectly cast in this BBC production of a one-hour version of the play, as the alcoholic, womanizing, murderous itinerant musician/poet title character. Zoe Wanamaker is also terrific as one of Baal's girlfriends. Not everyone's cup of tea, for sure, and difficult to see (try eBay), but for those looking for something different, or for fans of Bowie, definitely worthing searching out.

Incubus (1966)

Unique Moral Fable

[10/10 · 22 August 2003]

Like an orphaned episode of "The Outer Limits", the film INCUBUS wrestles with issues of morality within the framework of a timeless fable. The use of Esperanto allows for dialogue that might have felt overblown if spoken in English, but here fits neatly into the story's dreamlike context. A strong script from director Leslie Stevens, brilliant cinematography from the great Conrad Hall, an evocative score from Dominic Frontiere (all three from "Outer Limits"), and fine work from a good cast (William Shatner is subtle and believable) all add up to a unique film. If you're tired of cops and serial killers and want to use your imagination, give INCUBUS a try.

Isle of Forgotten Sins (1943)

South Seas hunt for sunken treasure

[3 June 2002]

Had I known who the romantic leads are in this film I would have made it a point to see it years ago. How often do you get the opportunity to see Gale Sondergaard and John Carradine play characters better suited to Humprhey Bogart and Lauren Bacall? ISLE OF FORGOTTEN SINS is a thoroughly enjoyable South Seas adventure with Carradine and Sondergaard, cast completely against type, doing terrific work for low budget miracle worker Edgar G. Ulmer. Add Frank Fenton as Carradine's battling buddy, Sidney Toler as their jovial adversary, Rik Vallin as Toler's classical piano-playing second mate and Veda Ann Borg as a treacherous native girl, clever use of a puppet (!) for the deep sea diving scenes and a climactic monsoon -- what more do you need?

NOTE: The running time of this film is usually listed as 82 minutes. The video print I watched (from VCI Video) ran 76 minutes, and did not appear to be missing anything major.

Ça va barder (1955)

Enjoyable, slick Euro adventure

[12 April 2002]

This is a thoroughly enjoyable, slickly made European thriller starring American tough guy Eddie Constantine, who plays Johnny Jordan, a drifter who is hired by a Fat Man to find out who is hijacking his gun shipments. From a script that has the feel of a 40's Warner Bros film with Bogey, "Barder" is beautifully photographed (in glossy black and white). Studio interiors are expertly mixed with exotic location work, lending the film the look of a budget bigger than the one it most likely had. Light comic touches, (such as a plug-ugly nightclub bouncer who is constantly combing his hair or filing his nails), a supporting cast of beautiful dames (including the glamorous May Britt), assorted low-lifes (like a jealous, knife-throwing husband), and a climactic shoot-out in a lighthouse make the oddly-titled "There Goes Barder" an unexpected pulpy pleasure. (Though some references list this as directed by "John Berry", the on-screen credit reads "Directed by Jacques Lamare".)