Included in the set: Horror Rises from the Tomb (1973) Vengeance of the Zombies (1973) Blue Eyes of the Broken Doll (1974) Human Beasts (1980) Night of the Werewolf (1981)
I have been a longtime fan ofPaul Naschyy’s work. One of Spain’s most prolific genre actors, he starred in over 100 films, almost half of which he wrote. Naschy also directed more than 20 movies. He played several monsters, but most often he played the werewolf Waldemar Daninsky.
Only one of the werewolf flicks made it into Shout Factory’s “The Paul Naschy Collection,” but they chose a solid title. 1981’s Night of the Werewolf was written and directed by and starred Naschy in the aforementioned role of Waldemar Daninsky. The film opens with a couple of graverobbers inadvertently awakening the werewolf. Meanwhile, a trio of attractive female college students with intentions to resurrect the evil Elizabeth Bathory end up as Daninsky’s houseguests. Love is in the air, but is alas squashed by dastardly shenanigans inevitably pitting the once enslaved Daninsky against the virgin-blood-drinking Bathory. The werewolf makeup is really excellent in this one. It features an amazing transfer unlike I have seen for a Nacshy werewolf film. Frankly, there are few good prints of Naschy films out there, and the werewolf flicks seem to be the crummiest of the lot. I had never seen a clean print of a Naschy werewolf film, and I wondered if I ever would.
Human Beasts is another 80s era film in the collection that was directed and written by and starred Naschy, who plays Bruno Rivera, a hitman who betrays his charge and is seriously wounded in the process. Fortunately for him he is rescued by a small town doctor with two beautiful daughters, who may have ulterior motives. Human Beasts actually had a respectable BCI DVD release. I did not notice a huge difference in picture quality. The BCI release has an absolutely charming introduction by Naschy; for that reason, I will always hold on to it.
Also in the BCI set, and included in this collection, is Carlos Aured‘s 1974 film Blue Eyes of the Broken Doll. Naschy is ex-convict Gilles, who is hired by three sisters as a caretaker. His arrival coincides with the murders of some local woman, and he naturally becomes a suspect. Despite not much difference noted in picture quality between the BCI version and Scream’s Blu, Blue Eyes of the Broken Doll is an important addition to the set. A Spanish giallo with a triple-twist ending and fabulous support from the talented and lovely Maria Perschy, Diana Lorys and Eva León, it is a favorite of not only Naschy devotees but of genre film fans in general.
Multiple Maniacs opens with Lady Divine’s Calvacade of Perversion: a circus sideshow, of sorts, set up with the purpose of robbing its patrons. We spend the balance of the film watching the complete mental breakdown of central character, Lady Divine. One thing that really stood out for me on this re-watch of this old favorite is the amount of then-current event references in the film. Cookie’s boyfriend Steve is a member of the radical left-wing underground organization the Weathermen; Bonnie compares amyl nitrate to sex; Lady Divine blackmails her lover Mr. David into claiming he participated in the Tate murders; and Mink fantasizes about people she’d like to kill, including Trish Nixon, Barbra Streisand and Shirley Temple Black. Multiple Maniacs is a twisted time capsule that I had long hoped to add to my DVD collection.
I lost my mind when I read Criterion would be releasing Multiple Maniacs. If that wasn’t enough, Janus Films did a limited theatrical run, which I was lucky enough to see last August 2016 at the Bell Lighthouse Theatre in Toronto. I have every available Waters flick on DVD, but Multiple Maniacs would be my first acquisition on Blu-ray. Criterion DVDs and Blu-rays do come with a higher price tag, but in my experience the quality restoration and supplementary
features make it well worth it. I always invest in a Criterion version of a beloved flick if it is available. Waters was queried on the level of
restoration he wanted to see on the film, which was full-bore; clean up as much as possible. The Blu-ray features an uncompressed monaural soundtrack, and George S. Clinton’s restored music is terrific. The supplements include “The Stations of Filth,” an entertaining ten-minute video essay on Multiple Maniacs by film scholar Gary Needham. There are thirty-two minutes of interviews with cast and crew members Pat Moran, Vincent Peranio, Mink Stole, Susan Lowe and George Figgs. As is the case with all of Waters’ older films, the entire cast of Multiple Maniacs were friends of the director. They share some great stories on working with Waters on the film. The trailer included was for the Criterion restoration release.
The real highlight here was the fabulous commentary from John Waters. Waters is hilarious; I always enjoy hearing him speak. The commentary is a funny, informative and sentimental trip through his experience making Multiple Maniacs. Watching the film with the commentary is an absolute must in my opinion. This is the first time Maniacs has been released on DVD/Blu-ray, so no comparisons to note there, but it is certainly a world away from the VHS copy I once owned. Criterion does not disappoint; the picture and soundtrack quality are more than I could ever ask or hope for, and at the end of the day this is ultimately the reason I fork out cash for Criterion. Seeing Multiple Maniacs in 4K is one of my cinematic highlights of this decade!
FEATURING: Lina Romay, Daniel Katz, Carmen Carrion, Albino Graziani, Jose Llamas, Mauro Rivera
PLOT: Irina, a psychic who performs a nightclub act with her lover Fabian, is plagued by nightmares that she believes to be real.
WHY IT WON’T MAKE THE LIST: Some of the visuals are surreal and the film has a trippy feel; this is achieved with music and creative camera work that do not equate to weirdness.
COMMENTS: A few years ago I started a (NSFW) feature on Tumblr called Franco Friday. It was part of an ongoing project to see every film Jess Franco has directed. IMDB lists 203 Franco films; according to Wikipedia, that number is inaccurate. Apparently there are several films listed under more than one title. I noted in my June 2015 Vampyros Lesbos review that I had viewed some 40-plus Franco films at that time. Night Has a Thousand Desires marks my 70th Franco flick. It is already becoming difficult to find Franco films I have not seen, and I have yet to reach the halfway mark of his library.
Never missing an opportunity to make the most of a budget, Franco would often make two or three films all using the same cast, wardrobe and locations. Night Has a Thousand Desires was obviously filmed just before or after the inferior The Sexual Story of O, which I by chance had watched the week before. I have enjoyed a lot of Franco’s output from the early 1980s, and I think Night Has a Thousand Desires is his best of the period.
The film takes place in the Grand Canary Islands; the scenery is really beautiful. Both the natural shots and the interior locations are well chosen. The building where much of the story takes place has lovely stained glass windows that Franco uses repeatedly; it lends a great deal to both films vibe. The garden setting where one of Irina’s nightmares occur is superb. The copious zoom shots Franco is so fond of effectively relay a feeling of hypnosis. Everything about this film visually is on point. The soundtrack complements it perfectly: a mix of music borrowed from previous Franco films, including Female Vampire and Devil Hunter, combined with all manner of groaning, grunting, echos and plenty of chanting. Irina’s name is repeated over and over throughout. In one scene, the film’s best, Irina shares a joint with a man and two women who had attended her night club act. I felt like I was getting stoned along with the quartet.
It wouldn’t be a Franco film without sex and violence. Rest assured there are healthy helpings of sex and nudity, and most of these scenes have a bloody ending. The story is straightforward and there is certainly no mystery to solve; plotwise, the cat is let out of the bag early. This does not make the film any less captivating to watch. Lina Romay is outstanding! Whether under a trance, screaming and howling, crying, laughing, giving or receiving sexual pleasure, her character is empathetic and very watchable. Night Has a Thousand Desires is an entertaining and visually impressive Franco effort with a fabulous soundtrack and a great performance by Romay that should delight his fans.
Mondo Macabro’s package offers a really nice Blu-ray transfer with concise, easy to read subtitles and crisp and clear sound. I had to turn down the volume several times (I’m pretty sure my neighbors already think I’m a pervert, so I don’t know why I bother). The extras are a bit thin. There is solid Eurotika documentary on Franco that I had actually already seen before (I believe on another Mondo Macabro release) and an interview with Stephen Thrower, author of “Murderous Passions: The Delirious Cinema of Jesus Franco.” The art work on the DVD cover by Justin Coffee is superb! If you are a fan of Jess Franco you need this in your collection.
The number of films directed by Jess Franco according to Wikipedia is “about 160”. [↩]
“Fourteen of the Godfather of Gore’s finest attractions, newly restored from original and best surviving vault materials: A Taste of Blood, Blood Feast, Color Me Blood Red, The Gore Gore Girls, The Gruesome Twosome, How to Make a Doll, Just for the Hell of It, Moonshine Mountain, Scum of the Earth, She-Devils on Wheels, Something Weird, This Stuff’ll Kill Ya!, Two Thousand Maniacs!, The Wizard of Gore
High Definition Blu-ray (1080p) and Standard Definition DVD presentation of the features and extras on 7 Blu-ray and 7 DVD discs
Brand new introductions to the films by Lewis
Hours of extras including newly-produced interviews and featurettes, commentaries, short films and much more
Additional 2 bonus Blu-rays featuring 1.33:1 versions of Blood Feast, Scum of the Earth, Color Me Blood Red, A Taste of Blood and The Wizard of Gore [limited editions exclusive]
Additional bonus DVD: Herschell Gordon Lewis: The Godfather of Gore documentary [limited editions exclusive]
28-page H.G. Lewis annual stuffed full with Lewis-themed activities plus archive promotional material [limited editions exclusive]
Newly illustrated packaging by The Twins of Evil [Feast edition exclusive]”
COMMENTS: John Waters citing Herschell Gordon Lewis as an influence originally turned me on to the director. As a lifelong horror fan, it was Lewis’ horror titles I initially sought out. Blood Feast was my unforgettable introduction to the Godfather of Gore (a title the man earned)! They were not making films with graphic gore in 1963. The man was a pioneer.
Herschell Gordon Lewis has thirty-eight director credits listed on IMDB; I have seen twenty-five of these titles. Nudist camps, bikers, juvenile delinquents, rednecks, psychotic artists, mad magicians, cuckoo caterers: Lewis’ resume is a colorful one. Despite the “Godfather of Gore” moniker, only eleven of his thirty-eight films are horrors. This Arrow box set focuses on his horror films; nine of the fourteen titles are from the genre. Given the opportunity to put together my own H.G. Lewis box set I would have chosen every one of these titles with the exception of How to Make a Doll (I would have included Alley Tramp instead).
I own Something Weird Video copies of some of these titles, including a couple of their downloads. All are sketchy quality. Screenshot comparisons of the DVDs for Wizard of Gore, Blood Feast and This Stuff Will Kill Ya show that in all cases the Arrow Video discs had crisper images. This was particularly noticeable in facial features. The other big difference was in the color. The color differences on Continue reading CAPSULE: THE HERSCHELL GORDON LEWIS FEAST BOX SET→
FEATURING: Rudy Ray Moore, Jimmy Lynch, Leroy Daniels, Ernest Mayhand, Ebony Wright, Steve Gallon, G. Tito Shaw, Ted Clemmons
PLOT: Comedians Leroy and Skillet borrow a large sum of money from the mob to put on a show. Unfortunately for the duo, rival comedian Petey Wheatstraw’s show is the very same week. When Petey refuses Leroy and Skillet’s request to change the date of his show they use more aggressive tactics. The young brother of one of Petey’s entourage is shot and killed by Leroy and Skillet’s goons, who then shoot all of the attendees at the boy’s funeral. Lucifer is on hand at the tragic event to make a deal with Petey. Petey and his friends will get to live and enact righteous revenge if Petey agrees to marry Lucifer’s ugly daughter and give him a grandson. Petey makes the deal, but he has no intention of keeping his end of the bargain. Will Petey be able to outsmart the Devil?
WHY IT WON’T MAKE THE LIST: Selling your soul to Satan plots are practically as old as film itself. This fact alone does not disqualify Petey Wheatstraw: The Devil’s Son-in-Law as a contender for the List. But while Wheatstraw is a potpourri of genres—a comedy, crime, action, horror film that is completely ludicrous and full of wacky hi-jinx—there are only a couple of “what the hell?” moments. Generally speaking, it is funny and not particularly weird.
COMMENTS: Rudy Ray Moore was an American stand up comedian who recorded his first comedy album, “Below the Belt,” in 1959. In 1975, Moore used the proceeds from his comedy albums to finance his first film, Dolemite. Moore plays the title character Dolemite, a ladies’ man skilled in kung-fu, hell bent on defending the ghetto. Dolemite spawned the sequel The Human Tornado, my personal favorite Rudy Ray Moore film. Moore only made five films throughout the Seventies, and thanks to his presence they are all pretty entertaining. Moore is funny, foul-mouthed, charismatic and energetic. Moore is not an actor, he is a comedian, and he brings his comedic persona with him to his films. He is also one mighty fine dresser. If you can’t enjoy Petey Wheatstraw: The Devil’s Son-in-Law for its humor, you should at very least appreciate Rudy Ray Moore’s sensational wardrobe! Moore dons about a dozen super Seventies ensembles over the course of the film.
Petey Wheatstraw opens with a flashback of his birth during a storm; exiting his mother’s womb as a seven-ish year old boy, he attacks both the doctor and his own father. Petey, like Dolemite, is also a ladies’ man, a master of kung-fu, and a defender of the ghetto. In an early scene Petey teaches three junkies a lesson while the neighbors gleefully cheer him on. The movie keeps a good pace with goofy antics at regular intervals, but most of the funniest bits happen after Petey makes the deal with the devil around mid-film. Once the plastic devil horns, the guys in tights, and Lucifer’s magic cane make their appearance, things get livelier. After Petey discovers the power of the magic cane he uses it without abandon. He grants one woman a wish to prevent her from stabbing her cheating husband to death:
Petey: Don’t kill him ma’am. I have one wish I will grant you. What might it be?
Angry wife: He’s a dog! He’s a damn dog! Just turn him into a little black puppy.
Petey: That wish will be granted.
You can look forward to a she-demon orgy, but don’t count on seeing more than a couple of bare breasts. There are some poorly executed fight scenes with a bunch of demons with bad makeup in tights and capes that were absolutely hilarious! Every fight scene in the film is quite ridiculous and thoroughly amusing. Moore has some funny lines and priceless expressions that alone make the film worth watching.
I always walk away from a Rudy Ray Moore movie with at least one awesome quote. Bar none, my favorite from Petey was “Romance without finance is a damn nuisance.” So true, Petey Wheatstraw, so true. I enjoyed the heck out of Petey Wheatstraw: The Devil’s Son-in-Law; it is good old-fashioned entertainment that made me laugh regularly. I definitely recommend picking up the 2016 Vinegar Syndrome release which contains both the Blu-ray and DVD. This copy is worlds better than the Xenon Pictures (“The Dolemite Collection”) version I had previously owned on DVD (see comparison below).
PLOT: A lumberjack inexplicably appears inside a doomed submarine. While searching for their captain one of the crew shares the wayward lumberjack’s story and several more strange tales. Before and after the main narrative (such as it is), a man lectures on how to take a bath.
While researching Hollywood’s lost films, Guy Maddin learned that approximately 80% of silent films made have been lost; many are preserved in title only. Maddin became obsessed with the idea that there were all these films he would never be able to see. This obsession turned into an ongoing four year long project producing re-imagined versions of these forgotten treasures. It began as an installation where Maddin and Johnson shot a movie a day in public. Some of what was shot became The Forbidden Room; the rest will become an interactive project that the NFB (National Film Board) will host called “Seances.”
The title The Forbidden Room is itself taken from a lost Lon Chaney film from 1914.
Co-director Evan Johnson was a former student of Maddin’s who was originally hired simply to do research, but his contributions to the project became so significant that Maddin felt he deserved a co-director credit.
The opening and closing segments are based on the title of a lost film called “How to Take a Bath,” made by none other than Maniac‘s Dwain Esper.
The Forbidden Room won 366 Weird Movies’ readers poll for Weirdest Movie and Weirdest Scene of 2015.
INDELIBLE IMAGE: An indelible image in The Forbidden Room? The entire film is a collage of indelible images. Candidates include lumberjack suddenly appearing in a submarine, a sauntering lobotomized Udo Kier ogling ladies’ derrieres, insurance-defrauding female skeletons in poisonous leotards.
WHAT MAKES IT WEIRD: The Forbidden Room is a collection of strange stories about bizarre characters weaved through a central plot involving a lumberjack attempting to rescue a kidnapped woman. The catalyst for this storytelling begins when the lumberjack suddenly appears on a submarine. Add a healthy dose of surreal, humorous imagery and some creative editing and shake well for a truly one-of-a-kind cocktail of weirdness.
PLOT: A young woman digs up a corpse with the intention of making him her lover; romantic complications arise when she falls for a living man.
WHY IT WON’T MAKE THE LIST: Nekromantik 2 is disconcerting, at times graphic and difficult to look at, but it is not that weird.
COMMENTS: According to Wikipedia, “necrophilia, also called thanatophilia, is a sexual attraction or sexual act involving corpses. The attraction is classified as a paraphilia by the Diagnostic and Statistical Manual (DSM) of the American Psychiatric Association. The term was coined by the Belgian alienist Joseph Guislain, who first used it in a lecture in 1850. It derives from the Greek words nekros; ‘dead’ and philia; ‘love’.” Even Disney would have difficulty making family-friendly fare based on the subject of “dead love.” German director Jörg Buttgereit had no intention of making a family film, of course. The original Nekromantik was banned in several countries.
Nekromantik 2 begins where the first one ended. Robert Schmadtke’s graphic and gruesome suicide is replayed during the credits. He stabs himself repeatedly in the stomach as his exposed erection ejaculates fountains of semen. We are then taken to a graveyard where we see a young woman digging up Robert’s corpse. She is a nurse named Monica who intends to make Robert her lover. No time is wasted establishing the premise. Monica, eluding detection, wheels Robert’s rotting corpse into her apartment. Once in the privacy of her abode she begins to fondle, kiss and undress Robert before mounting him.
The viewer is treated to a trippy slow motion scene of Monica’s coital experience. Soon she is running to the bathroom to vomit. Could it be her aversion to her own depravity making her physically ill? It seems unlikely. Monica’s character makes no apologies for her actions throughout the film. The character is not empathetic, she is a strong, independent woman obsessed with death, who also happens to have an affinity for sex with corpses. It is more likely the licking, sucking and kissing of a rotting, oozing, embalming fluid-filled corpse that is making her vomit. Robert is one nasty, icky looking corpse! The gore effects across the board were all properly gag-worthy and effective.
Enter Mark: a shy, awkward loner who does voiceovers for adult films. When a friend fails to meet him at the theater he offers the extra ticket to Monika as she happens by. The two see a black and white art film where a naked couple sit at a table covered in hard boiled eggs discussing birds. (This is apparently a cheeky wink to Louis Malle‘s My Dinner with Andre). Mark and Monica hit it off and are soon dating. Mark falls hard for Monica, and tries to ignore her Continue reading CAPSULE: NEKROMANTIK 2 (1991)→
PLOT: Linda, a young woman representing a legal firm, travels to a remote island to settle the estate of a wealthy Countess. When Linda meets the countess she realizes it is the same woman who has appeared to her in a recurring erotic dream. The lovely Linda is quickly seduced by the sexy Countess, who not only thirsts for her body and blood but for her soul.
WHY IT WON’T MAKE THE LIST: I suppose a legitimate argument could be made for the “weirdness” of Vampyros Lesbos, or just about any Jess Franco offering. Franco definitely walked to the beat of his own drum. The director borrows from classic literature and vampire mythos in general, and breaks all sorts of rules along the way. Breaking rules, however, does not equal weird. Even with its psychedelic visuals fully intact, there still does not exist a single image that I would qualify as “weird.” There were several lesbian-themed vampire films made during the period; despite Franco’s film being one of the first to get a theatrical release, I don’t think it was terribly shocking for the time. While Vampyros Lesbos is a beautiful and unique entry into the genre, it is not a film I would deem “weird”.
COMMENTS: I have viewed some forty plus films from director Jess Franco, and Vampyros Lesbos remains one of the most visually stunning in his oeuvre. The set pieces, particularly those found in the estate of the Countess, are eye candy of the highest order. The locations likewise add to the film’s visual appeal. The soundtrack is the film’s crowning glory and is without a doubt one of my favorites of all time. Vampyros Lesbos has a dreamlike and trippy vibe, and if you get lost in it the film it can transport you to another world. The beautiful, sexually-charged world of the Countess Carody is as enticing as it is hauntingly sad.
Symbolism is used throughout, specifically the image of a scorpion, a butterfly and a kite. It is too easy, in my opinion, to suggest that the scorpion represents the Countess and the butterfly trapped in the net is Linda. In my mind, both the scorpion and the butterfly represent the Countess. The Countess, delicate in feature and frame, is equal parts powerful, ancient, hungry, desperate, bewitching and manipulative. I see Linda as the kite: free, intelligent, strong, intrigued, tempted but not caught.
Who exactly is enticing whom in this tale is arguable. The strong-willed businesswoman versus the powerful, sexual Countess! Both lead actresses give a solid and memorable performance. The gorgeous Soledad Miranda had a powerful presence in everything she made an appearance in, but never more so than in Vampyros Lesbos. Though her dialogue is spare, Miranda speaks volumes with her expression. An immortal woman who has spent undetermined years Continue reading CAPSULE: VAMPYROS LESBOS (1971)→
“I was really surprised at the success of Blue Movie. It was a film that should have startled all sexy film lovers because it was an anti-establishment film.” -Director Alberto Cavallone (commentary from the documentary included as bonus material on the DVD).
DIRECTED BY: Alberto Cavallone
FEATURING: Danielle Dugas, Claude Maran, Joseph Dickson, Dirce Funari, Leda Simonetti
PLOT: A photographer’s exposure to the images of war leaves him with a warped sense of reality. What others consider beauty enrages him and provokes him to abuse a trio of women in his life.
WHY IT WON’T MAKE THE LIST: Numerous hallucination scenes, grainy war footage and the overall fragmented film style provide Blue Movie with a nightmare/dream logic. Its softcore sex, scat, urination and heavily misogynist vibe will make it unsavory for many viewers. It is not without some weirdness, but Blue Movie is more unsettling than weird.
COMMENTS: Blue Movie opens with a woman fleeing an attempted rape. The woman is Sylvia who is picked up by photographer Claudio and taken to his home. Sylvia’s recollection of her assault does not match the visuals we are shown. Claudio questions her story, which Sylvia admits is not completely truthful; despite this he gives her shelter. While Sylvia’s story may not have been accurate there is no doubt she has been traumatized. She has flashbacks and hallucinations of being attacked. (One hallucination, of an arm reaching for her from a blood-filled bathtub, is too similar to a scene from William Castle‘s The Tingler to be ignored).
We are then introduced to model Daniela. Claudio is verbally abusive to Daniela, who barely reacts to the ill-treatment. She tells Claudio “Every time I look myself in the mirror, I see that you were right. My face isn’t worth anything. I can no longer put up with myself. I’m fed up with what I am, Claudio, please, help me.”
The photographer meets a third woman, Leda, in a cafe. Leda has no money to pay for the coffee she has been drinking and offers the barista sex in exchange for payment. Claudio settles her bill and brings her back to his place. The town Leda is from was destroyed by an earthquake, and she offers to do work for Claudio, who makes her his secretary.
With the exception of a male character who is never named (IMDB credits him as “il negro”), these are the only people who inhabit Blue Movie‘s world. Claudio, the film’s antagonist, has clearly been affected by the images of war he has been exposed to. This is visualized by a barrage of grainy war footage scattered throughout the film. In the DVD commentary Claude Maran (the actor who plays Claudio) states his character had returned from Vietnam. Claudio possesses a collection of slides. He explains: “I began being a photographer when I was working as a printer for a war reporter. Those photos of mangled people, I could have snapped them. It was then that I became interested in cans.” This comment seems to indicate he had not actually been to Vietnam; either way, Claudio is one messed up cat.
The trio of women are a damaged group also. Daniela in particular consents to her abuse, believing she deserves it. Her imprisonment and subsequent humiliation is a hard watch. It is difficult to relay Blue Movie‘s story because it is somewhat plotless. We basically watch Claudio interact with the three women, always individually, like a dirty reality TV show. Cavallone includes a number of interesting and creative shots I found quite pleasing. Blue Movie has a very nice nightmarish, almost surreal feeling about it. The attractive cast, well-chosen props, sets and locations along with a soundtrack consisting of Bach and Scott Joplin added to the film’s watchability. I was especially fond of the finale. Although Blue Movie is downright illogical at times, I felt it was Cavallone’s intention to allow the viewer a peek at the perceived events of a fragmented mind. Be warned that Blue Movie is as trashy as it is artful: its perversion, madness, trauma, bodily fluids and softcore sex will be unpalatable for many. The scat scenes will be the most likely to engrave themselves into the memory. Daniela, kept locked in a room where she is treated like an animal, is asked to leave “an offering” in exchange for food. She defecates in a litter box and then scrapes her feces into empty cigarette packages. She is later photographed by Claudio while covering herself in her own feces.
Blue Movie was made on a low-budget and shot over seven days with non-professional actors who had no script to follow. Most of it was filmed in the home of producer Marial Boschero in Via Dei Giubbonari, Italy ,with location shoots in Santa Maria Di Galeria, “The Dead City,” a photographer’s studio in Via Della Camilluccia, and Lungo Tevere Tor Di Nona. Two prints of the film exist: a 16mm Italian theatrical release and a pirated 8mm version. Hardcore sex scenes were removed from the film for the theatrical release but exist on the pirated version. These scenes are included as bonus material on the DVD. This is the third DVD I have purchased from Raro Video and I have been suitably impressed, particularly considering the low price. The Blue Movie DVD comes with an eleven page booklet, “Blue Extreme,” a thorough 44-minute documentary on the making of the film, and deleted scenes taken from a 8mm pirated print. The picture quality transferred from the 16mm print is above average.
“I wanted to make a film that would give the people who took LSD at that time the hallucinations that you get with that drug, but without the hallucinations. I did not want LSD to be taken; I wanted to fabricate the drug’s effects. This film was going to change the public’s perceptions.”
This is a quote from the documentary Jodorowsky’s Dune, directed by Frank Pavich. Director and writer Alejandro Jodorowsky has a small but extraordinary film resume which includes Fando y Lis, El Topo, The Holy Mountain, and Santa Sangre. The quote could apply to any of these four films. I am a great admirer of this quartet of one-of-a-kind masterpieces. Jodorowsky’s unmade version of Frank Herbert’s 1965 novel “Dune” went as far as a film could possibly go pre-camera; the proof lies in a monster-sized tome of ideas and sketches that looks to be a few thousand pages thick. Jodorowsky worked with Jean “Moebius” Giraud to create storyboards for every scene of the film. The sketches from this tome were used throughout the documentary. The interviewees include Michel Seydoux (the unfinished film’s producer), Jean-Pierre Gibon (co-producer), Nicolas Winding Refn (director—Bronson, Only God Forgives), Richard Stanley (director–Hardware, Dust Devil), Devin Faraci (film critic), Chris Foss (artist), H.R. Giger (artist), Amanda Lear (Salvador Dali‘s muse), Diane O’Bannon (wife of the late Dan O’Bannon, who was going to supervise Dune‘s special effects), Christian Vander (musician—Magma), Gary Kurtz (producer—Star Wars trilogy, The Dark Crystal), Brontis Jodorowsky (Alejandro’s son, who acted in El Topo and Santa Sangre), and the centerpiece of the documentary: Alejandro Jodorowsky.
We are given a brief background on Alejandro’s career: his work in the theater and his first three feature length films. El Topo was so successful that he was given a million dollars to make The Holy Mountain. The Holy Mountain‘s success prompted a union with producer Michel Seydoux. Seydoux asked the director, if he could make any film, what would it be? Jodorowsky answered, “Dune.” Jodorowsky had not actually read Frank Herbert’s “Dune” and only knew of it because a friend had told him how fantastic it was. The director’s screenplay made many changes to Herbert’s story, including a significant alteration to the finale. This was definitely Jodorowsky’s Dune.
“I was raping Frank Herbert, raping like this. But with Love.”
With the script written, Jodorowsky needed to find the people who would help make it happen; “spiritual warriors,” in his own words. The talent that was going to be involved included many of my own favorite artists, actors and musicians. Dan O’Bannon was to supervise the special effects, artist Chris Foss would have designed the project’s spaceships, and H.R. Giger would have realized the Gothic planet Harkonnen. Pink Floyd would have created music for planet Leto, while Magma would have done the same for the Harkonnen. Jodorowsky’s cast was to be as follows: David Carradine as Duke Leto, Brontis Jodorowsky as Paul Atreides, Salvador Dali as the Mad Emperor, Amanda Lear as Princess Irulan, Mick Jagger as Feyd-Rautha, and Continue reading JODOROWSKY’S DUNE→
Celebrating the cinematically surreal, bizarre, cult, oddball, fantastique, strange, psychedelic, and the just plain WEIRD!