Filipino campfest Alyas Batman En Robin was made in 1993 on a zero budget, though it was considered a major release in the Philippines and starred three of that countries most popular comedians. Goofy, cheesy and fun, this flick is filled with crappy costumes, bad action sequences, inept choreography and a soundtrack that is cringe-worthy. But, it’s epic crappiness is what makes it such a blast. Here’s the grand finale featuring a blatant ripoff of Danny and The Juniors’ ‘At The Hop’.
Directed by Tony Y. Reyes and starring Rene Resquiestas, Dawn Zulueta, Vina Morales, Kempee De Leon, Joey De Leon
Watch the jawdroppingly silly trailer for Alias Batman And Robin after the jump…
It starts innocently enough. A young woman receives a surprise package in the mail. No doubt a gift from an admirer, or a belated birthday present. She opens it, inside is a pair black binoculars. An odd gift, for sure, but well-intentioned, no doubt. She examines them, then goes to a window, where she puts the binoculars to her eyes. Two spring-loaded spikes are instantly fired into her eyes, blinding and killing her.
So begins Horrors of the Black Museum, the most gory, gruesome and shocking film made in the 1950s. Co-written and produced by Herman Cohen, the American producer best known for I Was a Teenage Werewolf, Horrors of the Black Museum announced a new and distinct genre in movie-making - Exploitation, with its focus on sadistic cruelty and violence. Released in 1959, it is incredible now how this film was ever made, let alone given a certificate.
Filmed in “the most fantastic advance in motion pictures,” Hypno-Vista, “a psychological technique” where the audience in the cinema auditorium “actually become part of the action…on the screen,” Horrors of the Black Museum didn’t need gimmicks to snare its audience. It may be Cohen’s masterpiece, but it is the central performance from Michael Gough that makes the film so bloody marvelous.
Born in Kuala-Lumpur in 1916, Gough started his film career in 1947, and has appeared in over one hundred films since. Now best known for his appearance as Alfred Pennyworth in the first four Batman movies, Gough is the uncrowned King of Horror, starring in some of the most interesting (The Skull, The Curse of the Crimson Altar), shocking (Black Zoo, The Corpse, Horror Hospital) and influential (Dracula, Dr. Terror’s House of Horrors), horror films of the of the 1950s-80s.
Gough may devour the scenery in Horrors of the Black Museum, but it is just what is needed to carry off such a bizarre and absurd story-line, as he stars as deranged writer, Edmond Bancroft, playing a murderous game of cat-and-mouse with the Scotland Yard Police. Cohen and Gough made five films together, but nothing matched the shock and awe of this beauty. In an interview with Cinefantastique Gough gave a tantalizing snippet of what making the film was like:
“I made five films for Herman Cohen as he seemed to like the way I played his characters or perhaps I should say character because the first three were cut from the same cloth. Cohen was a showman first, last, and always; his manner was always overbearing and his opinions sacrosanct. During the filming of Horrors of the Black Museum, he would show up unannounced onset and tell our director Arthur Crabtree how to direct a scene and the actors as well. I mean this just was not on, and as a result Arthur began to loath Cohen on sight. He demanded all the walls of the set be painted a violent shade of blue or green; Herman Cohen was the boss on all that he produced – and not in a positive way either.”
Grim and gory, Horrors of the Black Museum is definitely one to rent for this Halloween.
“Tony Rome” was Frank Sinatra’s hard-boiled detective alter-ego in two films, 1967’s Tony Rome and its 1968 sequel, The Lady in Cement. Bucking the trend of Bond and the sub-Bonds like Our Man Flint (with James Coburn) and the “Matt Helm” series starring his Rat Pack buddy, Dean Martin, the “Tony Rome” movies were much more noirish in their approach, although, natch, this being Ol’ Blue Eyes, there were silly, sexist and “in joke” elements aplenty in the films.
Sinatra was directed in both films by Gordon Douglas (who directed him in Robin and the 7 Hoods) and surrounded by A-list cast members Raquel Welch, Bonanza’s Dan Blocker, Jill St. John, Gena Rowlands and sexy Sue Lyon (who played the title role in Stanley Kubrick’s Lolita).
I have always particularly liked the jaunty theme song to Tony Rome, written and produced by Lee Hazelwood and sung by Nancy Sinatra, you can hear it here.
Hugo Montenegro provided the groovy soundtrack to Lady in Cement, here’s the trailer:
British TV personality Jonathan Ross interviews Alejandro Jodorowsky on the BBC in 1991. Jodowsky had released Sante Sangre a year earlier and had just completed The Rainbow Thief when this show was filmed.
“Most directors make films with their eyes; I make films with my testicles.”
“I ask of film what most North Americans ask of psychedelic drugs.”
Sun Ra’s Rocket Number Nine is an exuberant, joyfully child-like expression of excitement at the notion of space travel. It is one amongst many catchy anthems the man created during his time on Earth. This version from a 1968 self-released 7” single and compiled on the wonderful 1996 double CD Sun Ra: The Singles is probably my favorite. Slowed down to a New Orleans swagger, I could listen to that glorious Monk-esque riff all day long.
Hear a few more versions of Rocket Number Nine by Sun Ra after the jump…
Last Minutes with Oden was voted best video at the Vimeo Festival + Awards over the weekend and boy did it deserve to win. The film is a six-minute long documentary about a former addict, Jason Wood, putting down his much loved pooch, Oden. Directed by Eliot Rausch, the short sensitively portrays what it’s like to go through something like this—is there anything more wrenching than having to put a dying pet down?—as well as expertly tying in Jason’s brutal backstory. The film is tightly and economically directed and to say it’s moving is a criminall understatement (I cried my eyes out—just sobbed like a baby—watching this earlier in the year and just now).
The Los Angeles premiere of director Frank Henenlotter’s new documentary, Hershell Gordon Lewis: The Godfather of Gore takes place at Cinefamily in Hollywood, CA on October 12th on a double feature bill with the gore classic, Two Thousand Maniacs. Henenlotter and producer Mike Vraney will be here in person for a Q&A in-between the films.
Frank Henenlotter, one of our favorite HFS directors and the man behind classics like Basket Case and Brain Damage, is back with the definitive portrait of Herschell Gordon Lewis, one of the godfathers of exploitation movies! Featuring John Waters, drive-in movie critic Joe Bob Briggs, Lewis’s legendary early producer David F. Friedman, Herschell himself, and testimony from the people who were actually there! You’ll witness Lewis’s beginnings in the bare-naked innocent era of “nudie cuties,” just before he shocked the world with Blood Feast, the first ever gore film—and then you’ll be treated to a madcap whirl of his notorious, controversial career, featuring Two Thousand Maniacs!, She-Devils On Wheels, Blast-Off Girls, Just For The Hell Of It and the incredible The Wizard Of Gore! Experience a decade of motion picture madness, with tons of film clips, rare outtakes, and unintentional hilarity, as The Godfather of Gore leaves you laughing and screaming at some of the most amazing movies to ever play American theaters!
[True story: When I met future “Club Kid Murderer” Michael Alig (when both of us were still teenagers) he was the first person I knew who had a VCR, but he only had three videotapes: Hershell Gordon Lewis’s Blood Feast and 2000 Maniacs and Abel Ferrara’s Driller Killer. Coincidence? You decide!]
Below, the trailer for Lewis’s hicksploitation “masterpiece” Two Thousand Maniacs. I’ve only seen this film twice, and yet I can still remember most of the lyrics to the insanely catchy theme song.
Many actors are superstitious. Some like Peter Bull kept a collection of Teddy bears to bring him good luck; others like Jack Lemmon said the words, “It’s magic time,” before filming each scene. But few have ever been quite as obsessed with superstitions and the occult as comedy genius, Peter Sellers.
Sellers’ introduction to the Occult came via fellow Goon, Michael Bentine, the “Watford-born Peruvian,” who had grown-up in a household where seances and table-turning were regularly practiced. Not long after they first met, Bentine told Sellers of his psychic abilities - how during the Second World War, when Bentine served in the Royal Air Force, he had been able to tell which of his comrades would die before a bombing mission. Bentine claimed if he saw a skull instead of his colleague’s features, then he knew this person would be killed. How often Bentine was correct in these predictions is not known. No matter, Sellers was greatly impressed by the shock-haired comic and was soon obsessed with all things paranormal.
From then on, Sellers collected superstitions, as easily as others collect stamps. He refused to wear green or act with anyone dressed in the color. If anyone gave him something sharp, he gave them a penny. He read his horoscopes every day so he would always know what he should do.
Sellers often said he had no idea who he was: “If you ask me to play myself, I will not know what to do. I do not know who or what I am.” This was his way of renouncing any responsibility for his actions. He claimed he found comfort and stability in consulting clairvoyants and fortune tellers, which again only underlines the fact he did know who he was - a control freak, who wanted power over his future. It was inevitable, therefore, that once under the spell of sooth-sayers and psychics, Sellers was open to fraudsters, tricksters and con-men.
The clairvoyant who had most influence over his life was Maurice Woodruff, the famed TV and newspaper astrologer, whose syndicated column reached over fifty million people at the height of his career. Woodruff received over 5,000 letters a week, asking for advice and had a Who’s Who of of celebrity clients, including composer Lionel Bart and actor Diana Dors. Woodruff had famously predicted the death of President John F. Kennedy and the end of the Vietnam War. Sellers was devoted to Woodruff, consulting him before he accepted any film roles, and regularly had tarot readings performed over the telephone. But Woodruff was heavily in debt and open to the persuasion of earning a little cash when film studios asked him to suggest film scripts to Sellers.
One famous tale, recounts how Woodruff was asked to suggest the initials of director Blake Edwards as being very important to Sellers. Unfortunately, Sellers failed to connect ‘B.E.’ with the famous Hollywood director. On return to the Dorchetser Hotel, his usual residence when in London, Sellers was smitten by the sight of a beautiful, young blonde-haired woman at reception. When he enquired who was this vision of loveliness, he was told Britt Ekland. Sellers recalled Woodruff’s prediction and married Ekland within weeks.
More on the paranormal Peter Sellers plus bonus clip after the jump…
There is an apocryphal story of Groucho Marx meeting the Pope. On being introduced, the Pope said ‘Thank You Mr Marx for all the humour you have put into the world.’
Groucho replied ‘And thank you for all the humour you have taken out of the world’.
‘Airplane, A Melodrama!’ is a re-edit of one of the funniest films of all time with all the gags taken out.
Tomorrow night in Echo Parque with the incomparable John “Drumbo” French (pictured above in 1968) ! :
ECHO PARK FILM CENTER is proud to host MESS (Media Ecology Soul Salon) with JOHN “DRUMBO” FRENCH on SAT, Oct 9 at 1200 N Alvarado St. (at Sunset Blvd.) Los Angeles, CA. 90026, 213-484-8846, $5 admission
7pm - CROW’S MILK - Rare MAGIC BAND documentary film (2003, 50 minutes)
8pm - Interview of JOHN FRENCH by Gerry Fialka.
10pmish - Book signing and more film of MAGIC BAND live in concert (London 2003, 80m)
The public is invited to this engaging Gerry Fialka interview of JOHN FRENCH, who will address the metaphysics of his callings and the nitty-gritty of his craft. He revolutionized drumming with Captain Beefheart and recently authored the book entitled Beefheart: Through The Eyes Of Magic.
FILM INFO: Nearly twenty classic Beefheart compositions are rejuvenated on stage by five of the finest musicians who ever performed in The Magic Band. The playlist ranges from storming versions of such crowd-pleasers as ‘Moonlight On Vermont’ and ‘Big Eyed Beans From Venus’ to the intricate guitar work of ‘Evening Bell and the melodic ‘Alice In Blunderland’.
Especially interesting are the instrumental versions of songs such as ‘I Wanna Find A Woman That’ll Hold My Big Toe Till I Have To Go’, ‘My Human Gets Me Blues’ and ‘Steal Softly Thru Snow’. Without Don’s voice, for Don is no longer performing, these compositions can be clearly heard as the mind and finger bending riddles they are.
The vocal parts in this Magic Band are taken by John French who comments “Don had a great lung capacity - he had a 50 inch chest. I have to breathe a lot harder and low frequencies take a lot more energy to push. I did a lot of training and exercise to get the most I could out of this puny 42 inch chest.”
This film of the London Shepherds Bush Empire concert in April 2003 (80 minutes) was directed by Elaine Shepherd who was also director of the BBC documentary ‘The Artist Formerly Known As Captain Beefheart’.
A second DVD ‘Crows Milk’ (originally titled ‘Like Bluegrass, Only Weirder’) is included in the package. This is a 50 minute documentary which follows The Magic Band rehearsals in California in February 2003, recording of the CD ‘Back To The Front’, the feelings of the band members about the project, rehearsals in London for the two 2003 UK concerts, plus concert and backstage footage from Camber Sands and Shepherds Bush. John Peel provides the narration.
There is also a short amount of recently found 8mm footage from John French’s home movie collection which shows Don sitting on a sofa and sketching and Don viewing a car in a garage while wearing a neck-brace and a ‘coolie’ hat. He had apparently had just had a crash in his other car which was a wreck. This material dates from the early to mid 1970s
