Posted in: Disc Reviews by David Annandale on December 4th, 2006
Four discs of Irving Klaw's 8mm films from the fifties: 270 minutes of material, which is astounding, given that all this was supposed to have been destroyed. The discs are distinguished by theme: "The Bettie Page Films," "The Wrestling Films,""The Fetish Films," and "The Dance Films." The titles are self-explanatory, and a synopsis is, of course, utterly beside the point. These are short films featuring women parading around in heels and hose, fetish gear, and wrestling while got up in sam. These are not great art, by any stretch of the imagination. But they DID stretch the popular imagination. The rating I've assigned reflects the cultural impact of Kaw's work, which continues to be felt to this day. This is an important collection.Audio
Cult epics has jazzed up the presentation by adding soundtracks of 1950's style music to the shorts: lounge, jazz swing and big band are the offerings, and they add a great deal of fun to the proceedings. The 2.0 mix treats the music well, and the bass lines are very solid. This is, of course, the only sound, and it is a very nice touch.
Posted in: Disc Reviews by David Annandale on October 6th, 2006
Tinto Brass, reigning high priest of the handsomely mounted skin flick, returns with this portmanteau feature. Six couples spice up their sex lives as the women have sex with other people and their menfolk watch/hear about it/join in too.This is the most explicit film from Brass to come out on the Cult Epics label, in that a fair bit of the sex here is not simulated. The tone is consistently cheerful, and there are some quite funny moments. The performers look more like real people than one might expect, and so, all in all, this ain't deep, but it's better than most efforts of its kind.
Audio
Posted in: Disc Reviews by David Annandale on September 1st, 2006
Cult Epics' series takes a step back in time with this release. The last one took us to the 1950s, and now we go considerably further back. Where to go next I'm not sure, but anyway, this is an interesting collection of antique porn. That this is a French import is obvious not only from the fact that all the films hail from there, but also from the fact that the jacket copy has been rather clumsily translated into English. But never mind. The films, while hardly masterpieces, are fascinating little curios, and it says something that pieces such as "Le Verrou" actually expected their target audience to know who Fragonard was (the starting point of the short is a recreation of the painting of the same name). Also intriguing is an pornographic cartoon from twenties - now that-s something you don't see every day.Audio
As opposed to the running-projector-noise that accompanied the previous release, there is a music score for each film. The sound is mono and quite rough, but to be frank, given what's on display here, stunning surround sound would seem weirdly out of place. At any rate, the job is done quite adequately. "Le Verrou" has a new score (complete with come crackles and pops).
Posted in: Disc Reviews by David Annandale on May 18th, 2006
Carla (Yuliya Myarchuk) is a Venetian in London, looking for a flat in which she and her boyfriend Matteo can live once he actually arrives there. In the meantime, she has been in London for a month, and he is in Rome, pining for her. Both of them are getting a bit sexually frustrated, but Carla works that issue out with a series of affairs, and for some reason, Matteo seems to have a problem with this.We are once again in the of Tinto Brass' ass-worship and cheerful infedelity. The tone is established by Carla's opening credit stroll through Hyde Park (a walk which Matteo will recreate later to transformative effect), which is depicted as a carnal wonderland. It seems that the Italians see the English as sexually uninhibited. Anyway the sexcapades dance up to the border of, but do not quite cross into, hardcore, and the tone is cheery. It ain't art, exactly, but it is one of Brass' more engaging films.
Audio
Posted in: Disc Reviews by David Annandale on March 9th, 2006
Synopsis
As one of the discs in this set is exactly the same as the previous release, my review is the same too:
Posted in: Disc Reviews by David Annandale on November 16th, 2005
Viva La Merte (1970) was surrealist playwright and all-around provocateur Fernando Arrabal's feature film debut. Set during the aftermath of the Spanish Civil War, this is the deeply autobiographical (no matter how bizarrely presented) story of the a young boy whose father was betrayed by his mother to the security forces of the Fascist General Franco. Oedipal nightmares, extreme violence and brutal eroticism are present in force.These elements are present in the other two films as well. I Will Walk Like a Crazy Horse (1973) has a man suspected of killing his mother flee into the desert, where he falls in love with a holy man, and when the two return to society, our hero is disgusted by what he finds.
The Guernica Tree (1975) is arguably the most brutal of the three films, which should come as no surprise, given the subject matter. We are back in Spain again, during the Civil War, and the action shifts from a backwards provincial town to the doomed Gernica.
Posted in: Disc Reviews by David Annandale on July 19th, 2005
Synopsis
Shot in 1974, this is one peculiar piece of work. Springing from director’s John Aes-Nihil’s not altogether healy obsession with the Manson murders, this takes the rumour that the Family filmed their activities and tries to make it flesh. What you see is a series of very convincing-looking Super 8 mm reels of the Family doing their thing, culminating in re-enactments of the Tate-La Bianca murders. Frankly, I’m somewhat at a loss for how to rate this. The home movies look very real, right dow... to every bit of grain and scratched emulsion, not to mention the flat approach to filming (exactly how someone untrained in the use of a camera would shoot this footage). But the point of the exercise, beyond the working out of an obsession (the film is shot in the actual locations), escapes me. However, this is definitely a fine example of something.
Posted in: Disc Reviews by David Annandale on July 12th, 2005
Synopsis
The opening scene is a montage of a couple in love, while a voice-over reads Edgar Allan Poe’s “Annabel Lee” – a sure sign that things are not going to end well. Sure enough, in the next scene, the young woman takes a fatal fall while climbing after a kitten. The boyfriend cannot bear to part with the corpse, and off he goes with the body, making his way cross-country to the lake where we first saw them in love, and all the time the corpse and his mind are slowly rotting away.
Posted in: Disc Reviews by David Annandale on July 8th, 2005
After a wild night with a man she just met, Yumi Takigawa enters the convent of St. Clore as an apprentice nun. She hasn’t joined out of religious conviction. Her mother was a nun here, and died under mysterious circumstances when Takigawa was born, and she has come here to find out what really happened. She encounters all the necessary ingredients of a nunsploitation movie: lesbians, a lustful priest, plenty of whippings, lashings of torture, and tons o’ blasphemy
Watching this 1974 film (based on a comic series) is to realize that the terms “over the top”, “blasphemous”, “delirious” and “outrageous” are sorely inadequate. Most films of this kind promise much, but are hopelessly ham-handed in their execution. This is energetically shot, the colours are eye-poppingly sumptuous, the climactic torture sequence (involving our heroine bound naked by thorny vines and whipped with roses) is a jaw-dropper, and there’s even a touch of the supernatural. So is the merciless attack on religion, of a ferocity that one cannot imagine a Western filmmaker getting away with, especially in this day and age. Screen this at a Republican Party convention, and watch half the audience drop dead of a stroke. For connoisseurs of sleaze, you are about to encounter a masterpiece.
Posted in: Disc Reviews by David Annandale on June 7th, 2005
Synopsis
Inspired by the Grant Wood painting, “American Gothic” is a 24-minute experimental horror short. Director Carlos Batts explains in his intro that the idea is that the farmer in the Wood painting killed his wife, and is now consumed by guilt. This is conveyed through a collage of surreal images, mixing Magritte, Goth and splatter, with a soundtrack that mixes portentous poetry and death metal/industrial rock. The latter isn’t a completely successful fit, partly because of audio limitations (s...e below), but also because some of those scenes begin to resemble a fairly conventional rock video. Intriguing work all the same.
