Tag Archives: 1969

308. FUNERAL PARADE OF ROSES (1969)

Bara no sôretsu 

“Elle est dans ma voix, la criarde!
C’est tout mon sang ce poison noir!
Je suis le sinistre miroir
Où la mégère se regarde.”

“It’s in my voice, the raucous jade!
It’s in my blood’s black venom too!
I am the looking-glass, wherethrough
Megera sees herself portrayed!”

–Baudelaire, “L’Héautontimorouménos,” Fleurs du Mal (English translation Roy Campbell)

Recommended

DIRECTED BY: Toshio Matsumoto

FEATURING: Peter (Pîtâ), Yoshio Tsuchiya, Osamu Ogasawara, Toyosaburo Uchiyama

PLOT: Eddie is a rising star in a Japanese drag cabaret; he is having an affair with the bar’s owner, Gondo. The club’s “madame,” Leda, who is also sleeping with Gondo, grows jealous of Eddie and devises a revenge against him. This story is served up out-of-sequence, however, and often broken up by stand-alone vignettes and documentary-style interviews where the actors are questioned about their alternative lifestyles and their roles in the film.

Still from Funeral Parade of Roses (1969)

BACKGROUND:

  • This was director Toshio Matsumoto’s first feature film after producing nine shorts (mostly documentaries). Matsumoto would continue to work largely in the short format: among his thirty-four credited directorial works, only four are categorized as full-length features. He was also a critic and theorist whose collected writings span six volumes. He died in 2017.
  • The “gay boys” were played by non-professional actors from the Tokyo homosexual community. The star, Peter, developed an acting career afterwards, advancing far enough to land the role of the Fool in ‘s Ran.
  • The Japanese word meaning “roses” was also derisive slang for homosexuals.
  • The avant-garde short screened within the film is “Ecstasis,” which also stars Peter and Toyosaburo Uchiyama.  Matsumoto released it separately.

INDELIBLE IMAGE: Eddie’s face, not androgynous, but wholly feminine, though glamed-up with an array of tiaras, false eyelashes, and decorative star stickers. We particularly like the scene where Leda (dressed as a geisha) is admiring herself in the mirror (and silently incanting “Snow White”‘s “mirror, mirror, on the wall…”), as an image of Eddie strides up from behind, invading Leda’s looking-glass in his black evening gown.

THREE WEIRD THINGS: Ladies at a urinal; drag queen shootout; too-literal Oedipus complex

WHAT MAKES IT WEIRD: Helped along by an earnestly queer cast of amateurs, Funeral Parade of Roses is a masquerade drag burlesque, a tragic and absurd procession of countercultural confusion among “gay boys” in a tumultuous Japan. A psychedelic-era movie set in Tokyo’s underground homosexual community that takes its bearings from “Oedipus Rex” and name-checks Jonas Mekas and Jean Genet along the way—pausing for a liberal dose of slapstick—is bound to turn out weird.


Brief fan-edit of scenes from Funeral Parade of Roses

COMMENTS: “Each man has his own mask,” says the voice from the Continue reading 308. FUNERAL PARADE OF ROSES (1969)

1971 DRIVE-IN DOUBLE FEATURE: CASTLE OF FU MANCHU AND I, MONSTER

Coming Soon…

“They live by night. They hide in the dark and rise from the shadows. They can never feel the warmth of living human blood in their veins. Their bodies are cold and dead… Dracula vs. Frankenstein! Rated the most shocking horror show of the year by “Famous Monsters of Filmland” magazine. Together, in one film, they meet in a fight of fright. Kings of horror battle to the death. Dracula vs. Frankenstein!”

And…

“Night of the Blood Monster. Caged women pitting their men against heavy artillery and hired killers… changing the day into a night of horror. ‘s victims know the taste, the smell, the tortures of Hades. Chained women—captives of pleasure; cattle to be abused, tortured and murdered. Night of the Blood Monster.”

It’s Showtime!

When Christopher Lee teamed up with Don Sharp in 1965 for the rousing The Face of Fu Manchu, the result was successful enough to catapult its star into yet another franchise. The Sharp/Lee followup The Brides of Fu Manchu (1966), while not quite the level of its predecessor, was a spirited sequel—but what better way to kill a franchise than hand it over to a bonafide hack? Cost-cutting producer Harry Alan Towers did just that when he tapped to helm The Blood of Fu Manchu (1968). Of course, even a hack can manage to produce entertaining drive-in fodder—unless it’s Franco, who, true to form, shot quickly and without an ounce of enthusiasm or pride in his craft. It’s not hard to imagine that 1971 drive-in audiences were picking up a lot of caffeine at the concession stand during the endless 92 minute running time of Castle of Fu Manchu. The masochist Towers chose to stake his goldmine for good when hiring Franco yet again; Castle was still being milked two years later on the drive-in circuit, paired with the feature below, in an attempt to recoup it costs.

Still from The Castle of Fu Manchu (1969)Within minutes, we learn that it was none other than Fu Manchu  who was responsible for sinking of the Titanic. To prove it, Franco economically uses black and white footage from 1958’s A Night to Remember and tints it blue so we won’t know the difference. It only gets more embarrassing. There’s a bit about turning seas into ice; kidnapping; an Asian babe; scientific experiments; TV’s Robin Hood, Richard Greene (!!!) as a nemesis; and more stock footage. When Franco’s not slapping in news reels, etc., it appears he was prodding the cast awake (although it feels as if he napped his way through a lot of it himself ). There’s some unintentional hilarity to be had (i.e. the heart transplant) with enough no-doze.

Intermission…

“Hot dogs: the All-American favorite. Certainly we serve them, piping hot and full of flavor. Call for yours now.”

“Help reduce losses of lives and loss of property caused by fire. Don’t give fire a place to start.”

“Barbecue! Barbecue! Barbecue! Our barbecue is prepared especially for you.”

“Go to church Sunday. The strength of a people is found in the strength of their faith. Support your church. The Management.”

“Today, we’re interviewing a stomach. Hello there. What is life like as a stomach? Oh, boy—it was hum-drum until what’s-his-name discovered Tony’s Pizza. Tony’s Pizza? Yeah, I was suffering from the pizza cravings until Tony’s came along. Crispy crusts and zesty sauces. Wow! What’s next? Another pizza craving. Just thinking about Tony’s pizza sets me off!  Does your stomach send you pizza craving signals? Tony’s, the pizza-cravers’ pizza, available at the concession stand.”

It’s showtime!

I, Monster (directed by Stephen Weeks) is an Amicus production of the famous Robert Louis Stevenson story “The Strange Case of Dr. Jekyll and Mr. Hyde,” and despite the name change, it’s one of the most faithful of the many cinematic adaptations. It has a poor reputation, which is largely undeserved.

The 1920 version (directed by John S. Roberts) starring John Barrymore, the superb 1931 version (directed by Rouben Mammalian) starring Frederich March, and the lousy 1941 version (directed by ) starring  Spencer Tracy (one wit cracked, “is Spence playing Jekyll or Hyde now?”), made much of female characters being subjected to Hyde’s lechery. Like the source material, I, Monster is devoid of a romantic subplot. In addition to the title, liberties are taken in the setting, moved to early 20th century, the pronounced Freudian subtext, and fact the the transformation is achieved through injection as opposed to drinking the kool-aid.

Although I, Monster misses some of the novella’s satire, it’s impressively produced, with Lee giving one of his best performances, thankfully free of overt makeup. is relegated to a supporting part, but is typically efficient. Originally it was distributed in 3D, and there are a few obligatory vignettes exploiting the fad, but ultimately it’s a sleeper.

“Remember to place your drive-in speaker back on the stand before you leave.”

This review, including the drive-in bumpers, refers to the double-feature available from Sinister Cinema.

CAPSULE: OBSESSIONS (1969)

DIRECTED BY: Pim de la Parra

FEATURING: Dieter Geissler, , Tom Van Beek, Donald Jones

PLOT: A carefree medical student’s life is thrown into disarray when a painting falls from his wall, creating a peep-hole to the neighboring apartment where he witnesses a world of LSD-fueled rape and murder.

Still from Obsessions (1969)

WHY IT WON’T MAKE THE LIST: The oft-hyphenated phrase, “by-the-numbers”, springs to mind when thinking of this picture. Trying to be a ian thriller, a drug morality tale, and (perhaps) a soft-core pornographic movie, Obsessions fails on all counts—with the only weird thing being that somehow let his name be associated with it.

COMMENTS: There is unfortunately little useful to say about this mish-mash of a Dutch film. The press release and DVD blurb hype it up as best they can, going so far to claim that Obsessions helped to jumpstart “auteur cinema in Holland.” That may well be true, but that’s something better explored by a film scholar (that is, some other film scholar). As it stands, all by itself, on its own, as a movie, it stands… kind of wobbly. Thinking back on it now, the only clever bit occurred during the plot setup in the opening credits.

A heavy, framed picture of a modified Van Gogh portrait (with super-imposed razor poking at the poor man’s ear) falls from the thin wall of Nils Janssen’s apartment, bringing with it a hunk of plaster and leaving behind a perfectly-sized peep-hole. Through this new portal, Nils (Dieter Geissler), an affable medical student, sees and hears strange doings across the way, finding that it’s not all scooters, cognac, and medical school in his trendy downtown world. His improbably attractive girlfriend Marina (Alexandra Stewart), a journalist for a fashion magazine with a sideline in pop-news, joins in his… “obsession” …and the two try to unravel a bizarre crime spree involving LSD, a series of addled young women, a fat drug-dealer with a lazy eye, a con posing as a US Army officer, and a masseuse who plies her trade with her feet. Before you can say “tight slacks,” things go south when the criminals discover they’re being spied upon.

Had this rambling plot been in the service of a pornographic endeavor (something the Netherlands didn’t shy away from in the 1960s), I’d feel more sympathetic to it. The amateurism of the acting, staging, and dialogue (not sure how involved Scorsese was in the writing; he was in his mid-20s at the time and only in town for another project) all smacks of high quality smut or low quality drama. For better or (more so) worse, Obsessions is the latter–and all the Hitchcock references and “gee-whiz!” camera tricks can’t change the fact that we travel through the film’s ninety minutes with a mix of incuriosity and relief at its brevity.

Pim de la Parra and his confrère Wim Verstappen went on to achieve notoriety a couple of years later with their full-blown adult feature, Blue Movie. Afterwards they cruised through the 1970s with a series of “mature” titles interspersed with the occasional drama and experimental film. While it seems P de la P could have pursued one direction or another after his late-60s crime-thriller, I’d wager that either genre isn’t any poorer for him having stepped away from it.

WHAT THE CRITICS SAY:

“Filled with arty montages, plentiful nudity, and Hitchcock references galore (note all the stuffed birds everywhere), Obsessions is a really odd one, mixing old school thriller tropes, chic ’60s fashions and decor, and sleazy kink, all with that percolating Herrmann music underneath.”–Nathaniel Thompson, Mondo Digital (Blu-ray)

1969 EXPLOITATION TRIPLE FEATURE: SCREAM AND SCREAM AGAIN, IT’S ALIVE, AND SATAN’S SADISTS

After the success of 1968’s The Conqueror Worm (AKA The Witchfinder General, with a deliciously evil ), director was assigned dual films: The Oblong Box and Scream and Scream Again. Unfortunately, shortly after pre-production work on The Oblong Box , Reeves died at the age of 25 from an accidental, lethal mix of alcohol and barbiturates, putting an end to a promising career. The film must have seemed cursed, because scripter Lawrence Huntington also died. Gordon Hessler replaced Reeves and Christopher Wicking replaced Huntington. Given Reeves’ high critical standing, Hessler was immediately criticized as being unable to fill the late director’s shoes. While there’s little doubt that Reeves’  idiosyncratic style would be impossible to imitate, he was unenthusiastic about the assignment to begin with. Thus, whether he could have made a better film is pure speculation. Despite starring Vincent Price and The Oblong Box can hardly compete with ‘s AIP Poe series, but it does have an ambitious, somber, gothic style of its own and is well photographed by John Coquillon.

Of more interest is a genuine oddity in the AIP canon: Scream and Scream Again, which also starred both Price and Lee along with (in what amounts to a cameo) and the same writing/directing team of Wicking and Hessler. Released in the U.K in 1969 and stateside 1970, Scream and Scream Again is one of the queerest horror science fiction extravaganzas committed to celluloid, which may explain why proclaimed it among his favorite films. Wicking’s screenplay is an ambitiously brazen adaptation of Peter Saxon’s “The Disoriented Man.” Given that Hessler is a minor cult filmmaker, Scream and Scream Again is, likewise, a film with a minor cult reputation, one that deserves a broader audience. Although imperfect, it is creepy and perverse enough to be of interest to weird movie lovers who crave a challenge.

Still fromScream and Scream Again (1969)The fragmented plot (one of several) opens with a jogger in the park, keeling over from what appears to be a heart attack. He wakes up in a hospital bed to a nurse who won’t speak to him. After she leaves, the jogger finds that his leg has been amputated. He screams.

The corpse of a rape victim is discovered with two puncture wounds on her wrist.

In an unnamed European totalitarian state, a humanoid Gestapo soldier (a lurid Marshall Jones) murders his superior by squeezing his shoulder.

The jogger wakes up to find his second leg amputated. He screams again.

Inspector Bellever (Alfred Marks) of Scotland Yard sets up a sting to Continue reading 1969 EXPLOITATION TRIPLE FEATURE: SCREAM AND SCREAM AGAIN, IT’S ALIVE, AND SATAN’S SADISTS

250. THE CREMATOR (1969)

Spalovac Mrtvol

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“The Lord arranged it very well when he told people: ‘Remember, dust thou art and to dust thou returnest.’ A crematorium, dear friends, is clearly a God-pleasing object, because it helps God to speed up the transformation of people into dust.”–Kopfrkingl, The Cremator

Recommended

DIRECTED BY:

FEATURING: , Ilja Prachar, Milos Vognic, Jana Stehnová, Jirí Lír

PLOT: Kopfrkingl is a crematorium operator in Czechoslovakia in the late 1930s who holds odd opinions about the liberating nature of death, based largely on his self-study of the Tibetan Book of the Dead. Because he has German blood, an old army buddy recruits him into the Czech branch of the Nazi party. His beloved wife’s half-Jewish parentage, however, soon becomes an issue that threatens his advancement both in the party, and in his chosen profession.

Still from The Cremator (1969)

BACKGROUND:

  • The movie is based on a novel by Ladislav Fuks, a Czech who had been a forced laborer (arbeitseinsatz) during the Nazi occupation. Fuks collaborated with director Juraj Herz on the screenplay.
  • Although he was their contemporary, Herz did not consider himself part of the In school he studied puppetry (in the same class as ) rather than film, and had few friends in the New Wave clique. (One exception was director , who plays the small role of Dvorák in The Cremator). He did sneak in to film screenings at FAMU (the national film school that incubated the New Wave movement) and filmed a segment for the 1966 anthology Pearls of the Deep, which was rejected because of its length (30 minutes).
  • The Cremator began filming during the Prague Spring, but was interrupted by the Soviet invasion in 1968, which made completing it a challenge. The film was released and screened but removed from circulation soon after.
  • Czechoslovakia submitted The Cremator to the Oscars as Best Foreign Film, but the Academy did not grant it an official nomination.
  • The Cremator won best film, actor (Rudolf Hrusínský) and cinematography (Stanislav Milota) at the Sitges Film Festival, but not until 1972, three years after its initial release.

INDELIBLE IMAGE: Most likely it’s frequently tuxedoed cremator-in-chief Rudolf Hrusínský’s round face, the subject of so many closeups, that will stick with you the most. We chose to highlight the moment when he is invited into the rear tent at the freaskshow to gaze at the embalmed two-headed specimens and faces ravaged by syphilis, in which he shows a strange fascination.

THREE WEIRD THINGS: Buddhist Nazism; the throne in Lhasa; girl in black

WHAT MAKES IT WEIRD: A WWII drama soaked in an atmosphere of Gothic psychological horror, The Cremator seems like a screenplay might have written if he’d lived to see the Holocaust. Distorted lenses and madcap montages track the cremator’s bent descent from eccentric mortician to megalomaniacal tool of ultimate evil.


Second Run DVD trailer for The Cremator

COMMENTS: The IMDB categorizes The Cremator as, among other Continue reading 250. THE CREMATOR (1969)