Kadin Hamlet (Female Hamlet)

                                                              1976
                                                 Director: Metin Erksan
                           Starring: Fatma Girik, Sevda Ferdag, Reha Yurdakul

                                                       
Director Metin Erksan was one of Turkey's most celebrated directors throughout the '50s and '60s. He is responsible for some of that country's great fantasy dramas including, 'Yilanlarin Ocu', 'Suzuz Yaz' and 'Kuyu' for which he was named 'Best Director' (sadly, none of which have I had the chance to get acquainted with... yet). Here in the States, he is for better or worse known for his entertainingly cheesey 'Exorcist' remake, 'Seytan'. In 1976, he embarked on possibly his most challenging film, a modern reinterpretation of Shakespeare's 'Hamlet'... with a woman as the title character. I've had this film in my collection for over two years, but have not bothered to watch it until now. Having been so unfamiliar with Erksan's work, I went into this film expecting some awkward, yet hopefully enjoyably silly pic. I couldn't have been more wrong...

Attempting to translate the work of Shakespeare to film and not have one's self come off as appearing foolish is daunting enough. To do what Erksan has done here would seem like nothing less than an attempt at late career suicide. Low on budget with the majority of the movie taking place outdoors (including a beach retreat scene with 70s disco music playing in the background!), 'Kadin Hamlet' had the makings of a disaster on an epic scale. Yet somehow Erksan turns what easily could have been a complete embarrassment into an abstract work of art. Nearly every scene rings true to the original literary's intention and much of the visual sensibility is striking. I became completely engrossed in the familiar drama, realizing I was watching a master filmmaker in full command of his surroundings.

Still as tightly done and visually stunning as it is, 'Kadin Hamlet' would not have worked without a strong actress in the lead. enter Fatma Girik, a prolific actress (later turned politician) whose performance as Hamlet would make or break the picture. She attacks the role, lending it both the necessary intensity and sense of grandeur that was so vital to it's success. It was a completely convincing performance even during the 'mock' insanity sequences and staged musical section (which serves as the film's centerpiece). Girik's mastery in front of the camera equaled Erksan's work behind it.

'Kandin Hamlet' may not be 100% successful (it's a filmed interpretation of Shakespeare afterall; how could it be?), but it does make for compellingly bizarre viewing. It also shows why Metin Erksan was such a highly praised and revered craftsman in his home country. If he was able to make this material work so well, one is left figuring that he was capable of just about anything.

                                                                   *** / ****

Close Escaoe

                                                         
                                                              1989
                                              Director: Chung Wing Chow
                        Starring: Max Mok, Aaron Kwok, Yukari Oshima, Dick Wei

                                                         
Back in 1991-92, I was venturing into a Korean owned video store that among other things, was renting recent (at the time) Hong Kong movies (unfortunately with Korean subtitles that sometimes obscured the English ones). For a mere buck, I was able to keep the film for a week. Not a bad deal. So each week for a couple of years, I rented three movies per week and copied them onto a 6 hour blank vhs. A good way back then to increase my collection, especially since I was on a strict budget (and let's face it, I'm ALWAYS on a strict budget). At the time there were quite a few films I never heard of that I took a chance on because of a certain actor ot actors in them. This one, Close Escape I rented because it co-starred Yukari Oshima, probably the best fighting femme in '80s Hong Kong cinema. I figured, "what the heck. even if it turns out to be bad it still stars 'The Osh' and that's certaintly worth a buck...".

The plot; a man named Lam dying of cancer, needs to raise money so that his younger brother, Wai Leong can complete medical school. His way of raising said cash is to join a gang that is planning a diamond heist. During a dispute, Lam is killed but not before he successfully hides the stolen jewels. Wai happens on the scene and is promptly framed by the gang for the murder (yep, things are not going too well) and finds himself on the run. Realizing that he had been given counterfeit jewels, the enraged gang leader sends an assassin after Wai, who by this time has aligned with a police detective friend.Wai also runs into a female Japanese reporter named Miko whom after initially distrusting, eventually finds himself falling for.

Yep, the plot is a convoluted and only semi involving pot boiler. Aaron Kwok and Max Mok were the two main stars and they were (as usual) fine, but nothing special. I never found either actor to be particularly compelling and if I end up watching a movie featuring either, it's for reasons other than that they are in it. This film truly comes to life when Yukari Oshima enters the picture. 'The Osh' is always incredible, whether the film itself is or not. Her role as the reporter/plant/love interest here is one of her best. She gets to be tough and vulnerable and pulls both off with conviction.

'Close Escape is directed by Chung Wing Chow who does a decent job of keeping the proceedings moving along. What this film benefits from in a big way is the action choreography from none other than 'Venom Mob' alumni Kuo Chui (aka Phillip Kwok). Kuo was one of the Shaw Brothers' top fighter/stuntmen in the latter half of the '70s. His fight and stunt work behind the camera matches what he had previously done in front of it and then some! The action that takes place during the second half is absolutely terrific with the finale being one of the best I have ever seen, rivaling the best of Sammo Hung's and Yuen Kwai's output. Dick Wei appears in the film as a villainous henchman and he has never been tougher or more menacing. His climatic bout with Yukari is positively brutal, rivaling his work in 'Yes Madam' and hers in 'Angel' (yes, THAT good as the clip I added below will attest to).

Close Escape is one of those films where you will need to be patient with a fairly slow and workmanlike first half. If you do, then you will be well rewarded with some incredibly hard hitting action and a top notch 'Osh' perf.

                                                                 *** / ****

Playgirl

                                                           1969-1974
                                              Director: Hirokazu Takemoto
   Starring: Michie Azuma, Mimi Fukada, Bunjaku Han, Yuriko Hishimi, Yumiko Katayama

                                                            
For anyone needing a reason to support the argument that Japan.of the 70s positively ruled the Television airwaves, they would need to look no further than this amazing,  boundary breaking program.

The story; Makoto Masako is an independently wealthy socialite and mystery novelist who decides to go into business for herself. The business of choice, assembling an all female detective agency. Recruiting beautiful, thrill seeking amateurs, Masako sends her 'Playgirls' into motion solving all sorts of crimes, be it insurance fraud, robbery, white slavery, organized crime etc. The bulk of each sixty minute episode features several of our fabulous femmes going undercover before gleefully unleashing their inner badassery on their hapless targets, be it with guns or feet 'n fists (usually both).

With tongue firmly in cheek, 'Playgirl' was a sensation in Japan as it combined action, intrigue and an eyebrow raising amount of nudity. This titillating (pun somewhat intended) combo ensured that high ratings would be the norm during it's five year run. That it was a consisitantly well made and executed program didn't hurt either. I personally had just caught up with it a couple of years ago and found that even without English subtitles (which WOULD be welcome, hint!) this show was something special. Seemingly influenced by 'The Avengers' and especially 'Honey West', the real surprise was this show's startling similarity to 'Charlie's Angels' which 'Playgirl' preceeded by several years!

Amongst the cast of beauties, the one that stood out for me was Yumiko Katayama. I grew up watching Ms. Katayama as Mitsuko Nishino (U5) on 'Giant Robo' (aka 'Johnny Sokko and His Flying Robot'). I almost didn't recognize her in 'Playgirl', having such a sexed up role (and she is VERY sexy on the show). Following this, she would take on even more risque roles in films such as the first of the 'Female Prisoner Scorpion' series (where she has a lesbian encounter with star Meiko Kaji) as well as 'Delinquent Girl Boss, Worthless to Confess' and 'Criminal Woman, Killing Melody'. Have to wonder what Johnny and the rest of the Unicorn Organization would make of this...

                                                               *** / ****

Valley of the Double Dragon (aka Kung Fu of Tai Kwan Do) (aka Fist Fighter)

                                                               1974
                                              Director: Ulysses Au Yeung
                    Starring: Kim Jin Pai, William Shiela, Robert Baker, Lin Chen Chi

                                                        
This unusual film takes place during Japan's occupation of China during WW2. A downed U.S. fighter pilot (William Shiela) forms an uneasy alliance with a small group of Chinese freedom fighters as they oppose the Japanese soldiers who have been pillaging the countryside along with help from a sadistic Nazi (Robert Baker).

A choppy, uneven, yet fairly entertaining affair, Valley of the Double Dragon marks the directorial debut of one Ulysses Au Yeung. The ubiquitous Ulysses had directed everything from straight kung fu fare (Thou Shall Not Kill... But Once, Ming Patriots) to classic wuxia (Big Land Flying Eagles which may be his masterpiece), to slapsticky fu comedy (Three Shaolin Musketeers) and even dabbled in Brucesploitation (Bruce Lee, We Miss You). VOTDD displays the same energetic, swift paced, rough and ready style of filmmaking that seems to be the director's forte.

Ultimately, the film is probably most notable for it's cast. Star Kim Jin Pai is a real life 10th degree Hap Ki Do black belt who starred in several films during the early '70s, most noteably the hard to find (dubbed in Englsh, at any rate) cult favorite, 'The Mandarin' (aka Godfathers of Hong Kong). Easily the best martial artist in the film, Kim throws a mean screen kick and his battles tend to generate most of the movie's excitment. This I believe is the one and only film appearance by William Shiela. Very unusual to see a black actor in a Chinese production of this vintage. He appears to be a real life martial artist (from what I can tell, anyway) and does a competent enough job in the action scenes. The role also allows (or possibly forces, depending on your point of view) him to be all over the place in the thesping department. Starting off as angry, viscious and distrustful of his soon to be Guerilla allies, he soon enough finds himself in disguise as Guan Yu (!) as the team attempts to infiltrate the Japanese HQ. Robert Baker's claim to fame was playing the Russian 'Petrov' in Bruce Lee's Fist of Fury. This film marks Baker's second and apparently last film role. This bit of casting alone is enough to spark interest for genre fans. Unfortunately, Baker's 'acting' as the ruthless, sadistic Nazi is just as stiff as it was in the Lee film. Not that much was actually required of him for the role; his familiar appearance alone seemed to do the job. This film also marks the debut of the beautiful and talented Lin Chen Chi. An intense actress with a perpetually wild look in her eyes, I first took notice of Lin's work in Tsui Hark's 1980 rage filled masterpiece, 'Dangerous Encounters of the First Kind'. Sadly she's underutilized in this film as her character is relegated mostly to onlooker status (not a fighter, it seems). Still she manages to stand out in every scene she's in.

All in all Valley of the Double Dragon is certainly no Eastern Condors (what is?), but it is a worthwhile low budget 70s style war-fu oddity. I'll admit I went into this one thinking it's sole interest would be it's cast, but I came away enjoying it a bit more than I thought I would. Worth tracking down.

                                                               **1/2 / ****

Cobra

                                                                1981
                                                 Director: Joseph Velasco
                            Starring: Bruce Lei, Peter Chen Lau, Leong Wong Ko

                                                         
Not only is this curiosity not to be confused with the Stallone movie of the same name, it's also not to be confused as a Bruce Le (as in one 'E', as in Bruce clone) starring vehicle. Though billed as the star of the film and his face plastered all over various posters (the one used here excluded) and vhs boxes, he is nowhere to be found. Apparently, this Indonesia lensed flick decided to use his name purely as a selling point as his films were popular there at the time (can you imagine; a second rate Bruce Lee clone falsely billed in order to lure patrons?!). The actual star is Bruce Lei and no, this isn't the actor who's better known as Dragon Lee. That was a different 'Lei'. I'm not sure who this Bruce Lei is, possibly Steve Lee of the film 'Steel Fisted Dragon'. Maybe, maybe not...

Onto our story: 'Bruce' is the favorite pupil of your typical white beard, kindly old teacher/father figure. He is also in love with the old man's daughter (of course). The old master is killed one night by an unidentified assassin who calls himself, The Cobra . His dying wish is that his daughter and fave pupil forget everything, get married and move away. And believe it or not, that's what they do! They have a kid and 'Bruce' lands a job after unwittingly fending off a few gangsters who were harassing a rival. His job is basically as a collector/enforcer, something he does not enjoy. He let's his boss know he's quitting after one last job (you know exactly where this is heading). The 'job' is botched and the boss sends his goons to kidnap 'Bruce's' wife and child. It goes horribly wrong amd the two are accidentally killed (this scene is one of the more excrutiating ones that I have seen in a kung fu film of this vintage). This sets the tone for the last thirty minutes as an enraged 'Bruce' lays waste to the rheumatism stricken boss and his henchmen (the top assassin turns out to be identical twin brothers leading to the line, "So the two of you were born on the same day and you will die on the same day!"). It ain't over 'till it's over however as at the last instance, The Cobra (whom 'Bruce' and the audience had basically forgotten about) shows up to finish what was started (or something like that), leading to a final freeze framed 'surprise' ending that will cause one to shake their heads in disbelief (if they weren't already doing so, that is).

If the above plot rundown makes this film sound like some careless, convoluted mess, that's because it is. 'Credit' one Joseph Velasco who among many others, directed such no budget wonders as the entertaining 'Ninja Strikes Back' and the notorious 'Clones of Bruce Lee' (both of which DO star Bruce Le). He lends his typical air of incomprehension to this film. Still, this wobbly inducing affair does have a minor cult following and this is mostly due to the gory carnage on display in the last half hour. After a slow, somber buildup, Velasco just seems to say screw it and pile on the martial arts mayhem in earnest. This sudden change in tone only adds to the confusion, but in a so bad, it's good kinda way.

Again, not positive who star Bruce Lei actually is, but he is a decent Lee-alike. Not the best I've seen, but not the worst either and he does display some half decent acting chops to go along with his welcomed  subdued Lee impression. His underplaying of the role actually lends some genuine drama to the proceedings.

As these Bruce Lee clone flicks go, I found Cobra strangely intriguing. It's jarring shifts in tone combined with the gore filled climatic battles and nonsensical final shot (to say nothing of it's score, which at one point incorporates a muzak instrumental version of 'Bridge Over Troubled Water'!) make it ideal viewing for insomniacs everywhere.

                                                                   **1/2 / ****

Invisible Man vs the Human Fly

                                                              1957
                                             Director: Mitsuo Murayama
                        Starring: Ryugi Shinagawa, Yoshiro Kitahara, Joji Tsurumi

                                                    
This is the followup to Daiei's 'The Invisible Man' (which I have yet to see) and is quite a quirky little sci fi thriller.

Tokyo is gripped with a series of murders committed by an unseen madman who kills his victims with a knife plunged through the heart. The only apparent warning sign being a buzzing sound preceeding the attack. The police are baffled. One officer quips that the murders could only be committed by an invisible man. Little does he (or the others) realize that through light ray technology, such a being has already been created. Unfortunately once someone is transformed, there is no way to bring him back without causing a fatal form of cancer. The actual killer however, is using a different method; an invention that can allow him to shrink to the size of a fly. The noise that accompanies our deranged mini murderer is because (as science points out, cough!), that creatures when they are shrunk to a small enough size, can float through the air while creating a natural humming sound.  Once the killer is found out, it is reasoned that only an invisible man can stop him. But will anyone be brave enough to alow himself to be transformed knowing he cannot become visible again?

Invisible Man vs the Human Fly is a fairly fun watch, but not quite as much fun as it ought to be. Director Mitsuo Murayama lensed this little pic as something akin to a police procedural. As such, the film has a rather deadpan 'Dragnet' like feel that is at odds with the decidedly loopy sci fi story. Though it does manage a faint B/W Film Noir quality that is appreciated, one need only watch Ishiro Honda's 'The H-Man' (lensed in vibrant color) to see how unnecessarily subdued much of the material is presented here. The effects are pretty cool; the human fly is just that, a man shrunk down to the size of a fly (with no insect-like appendages which would appear in the U.S.s 'The Fly') and just sort of floats around (and above and under) things, waiting to strike. The Invisible Man ('People" actually, at the risk of giving too much away) is compentent, but is not up to the level achieved by John Fulton in Universal's 1933 classic. Arguably the best 'special effect' on display takes place during the nightclub sequences featuring various scantily clad dancers (again predating 'H-Man') that most definitely livened up the lethargic first half. It also led to the film's most amusing moment as our villainous Human Fly having an unhealthy obsession with one of the dancers, buzzes around her while she relaxes in her dressing room only to find himself mildly swatted by the unsuspecting hottie.

Recommended mostly for Kaiju completists. Fortunately, I tend to fall into that category myself, so all is well.

                                                                    **1/2 / ****

Django the Bastard (aka The Stranger's Gundown)

                                                              1969
                                               Director: Sergio Garrone
                       Starring: Anthony Steffen, Paolo Gozlino, Luciano Rossi

                                                    

Sergio Corbucci's 'Django' was a huge hit in 1966. So popular and infuential was this seminal Spaghetti Western that lesser filmmakers began cranking out dozens of unrelated films with the name Django in an attempt to cash in on the original's success (isn't this always the case in every genre?). Many of these were pretty listless but a few were actually quite good (though none could touch Corbucci's original). This one, Django the Bastard is one of the best and a fine 'Gothic' Western as well.

After the credits (complete with appropriately stirring theme track) unspool, we are treated to one of the great opening sequences in the genre. A mysterious gunman (black hat and poncho, the whole nine yards) enters a small town carrying a handmade, wooden cross with the name Sam Hawkins on it as well as the current date. Hawkins emerges from an inn and recognizes the man as Django. Django quickly kills Hawkins who drops dead conveniently right in front of the cross specially made for him. As flashbacks slowly reveal, Django was a Union soldier whos squad was betrayed on  the battfield by a trio of Generals who sold them out to the Yanks. Left for dead, Django has re emerged to wreak his vengeance upon the three traitors. But is it actually Django or his ghost that they find themselves up against?

Director Sergio Garrone is not in the same league with the other Sergios (Leone and Corbucci) but under the right circumstance, he can coax himself into presenting a decent film. Django the Bastard is probably his best. The early scenes in particular are extremely well done. Throughout the early portion, it is suggested that Django is an invincible, avenging spirit (a Grim Reaper of sorts) and the comeuppance wrought upon each of the wrongdoers has a wonderfull air of the supernatural. It almost feels as much like a Giallo as it does an Italo Western. Unfortunately, the second half of the film can't quite keep the sense of dread going. The story bogs down slightly as we are introduced to one the Generals' evil, twisted brother (an admittedly creepy character) who among other incidentals takes a bit away from the central story. Things do wrap up with a well executed final one on one showdown, but some of the power is lost by that point.

As Django, Anthony Steffen is his usual solemn self. He isn't bad here, but his interpretation of Django falls short (as all other Djangos do) of Franco Nero's definitive portrayal. Of course, it was a little difficult for me to judge his perf here as the English dubbing on the print I saw was just terrible.

Overall, Django the Bastard makes for a good entry in the faux Django series. If you like atmosphere in your Spaghetti Westerns, then this one is for you.

                                                              *** / ****