Amazon has all four of Amando de Ossorio’s little seen but well regarded quartet of Blind Dead films, courtesy of Amazon Prime, so you can try before you buy.
La Noche Del Terror Ciego (1971) – THE NIGHT OF THE BLIND TERROR renamed for North America to the surprisingly brilliant title, (and the title that has defined the series) THE TOMBS OF THE BLIND DEAD, was an international success and put its director Amando de Ossorio and Spanish Horror on the map.
The titular protagonists were so haunting, the character design so inventive, that it spawned three equally well regarded sequels.
Finally watched I can see why this film series, closing in on its 5th decade, is well regarded. Given the time period and obvious limitations of budget, the director, Amando de Ossorio manages to create a wonderful atmosphere, iconic villains, and intriguing characters and story, imbuing a new intriguing twist, onto the well trod myth of the living dead.
The three sequels are:
THE RETURN OF THE LIVING DEAD 1973 ( The original Spanish title, ATTACK OF THE BLIND DEAD being superior to the American title)
THE GHOST GALLEON 1974 ( Known in its original title, EL BUQUE MALDITO, as THE DAMNED SHIP)
and finally NIGHT OF THE SEAGULLS 1975 (The only movie in the series, translated literally from the Spanish).
Now you can see all 4 films on Amazon Prime. Now be careful, there are multiple copies of these films on Amazon, most of them have a cost to them, however do a search and find the movies without a poster image and those will be the free ones.
Then watch all four and enjoy and if as impressed as I am, and ready to own the DVDs with special features, then go here:
The Roman born Director Lucio Fulci when remembered today is primarily remembered for his his schlock and gore filled horror films of the 80s such as THE BEYOND, HOUSE BY THE CEMETERY, ZOMBI 3, which is a crying shame, because these were the lowest common denominator films of a filmmaker reduced to making dreck to make a paycheck, rather than his films of the late 60s and throughout the 70s that can be considered his artistic passion projects.
His film-making and use of the camera in this period was ground breaking and incredibly influential, and his best films remain among the best of their respective genre.
From 1966’s MASSACRE TIME (an early inspiration and precursor to the dove filled blood ballets of John Woo) to 1978s rarely seen SILVER SADDLE, was a twelve year period of unbridled creativity and staggering experimentation, and contain not only Fulci’s best films, but some of the best films by anyone during the period, and films that stand the test of time.
Here without further ado our Fulci’s best films and essential films for any true lover of cinema:
1966’s Massacre Time – This film was the one to put Fulci on the genre/world map. One of the earliest of the Spaghetti Western craze, and one of the best. This is an ultra violent flick, that shows off Fulci’s adeptness and creativity in staging action scenes. You can definitely see in this film with its gravity defying blood laced shootouts and its prevalence with doves, a clear inspiration and precursor to the later ‘blood ballet’ films of John Woo. Made during the glory days of the spaghetti western genre (roughly 1966 to 1968) MASSACRE TIME stands out as being one of the most extreme of these extremist westerns.
More detailed reviews to come next installment!
View it for yourself here!
If you dug this blog post, leave a like or send an IM, or better yet go here and purchase today’s DEAL OF THE DAY:
“He was a personable looking man. First your eye said he’s not young anymore, he’s not a boy anymore. Then your eye said : he’s not old. There was something of youth hovering over and about him, and yet refusing to land in any one particular place… In short the impression was agelessness. Not young, not old, not callous, not mature – but ageless. Thirty Six looking fifty six, or fifty six looking thirty six, but which it was you could not say.”
FOR THE REST OF HER LIFE by Cornell Woolrich
MARTHA based on a Cornell Woolrich story “FOR THE REST OF HER LIFE” was my first introduction to the world of Rainer Werner Fassbinder, and what an introduction. I’ve been a huge devotee and fan of all things Cornell Woolrich since discovering his pulp fiction a few years ago. I own and have read a ton of Woolrich stories and novels. When I heard about this movie based (illegally it seems) on one of his stories, I had to try it.
And MARTHA finally seen, I was blown away by the strange, nearly alien craft and audacity of that film, and that led me by fits and starts to today’s review of Fassbinder’s WORLD ON A WIRE.
I’ve watched movies all my life, I consider myself well informed when it comes to cinema. I’ve seen all the great genres, and most of the great directors. I can speak to you about German Expressionism, Film Noir, French New Wave, Italian Neo-realism, the Pan-African and Post-Colonialism movements. I can talk to you about blockbusters and straight to VOD masterpieces. And when you have seen as many films as I have, to get me through a movie these days… you have to either a/tell the familiar in a captivating way, or b/create something vibrant and unfamiliar.
Most movies and all Blockbusters are the former, they are variations on types of movies and a thematic structure that we have seen time and time again, since the dawn of cinema; what makes them successful is the ability to do the ‘rescuing the girl from the train track’ in a fresh and innovative way.
Much rarer is the latter, films and filmmakers that fundamentally challenge and expand are definitions of the scope and pathways of cinema.
I’ve seen two of Rainer Werner Fassbinder’s films all the way through, and both of them have struck me that way. Now admittedly they are from phase 1 of the three loosely defined phases of his career. Phase 2 being his Melodramatic phase, Phase 3 being that melodrama morphed into his identity films, dealing with themes of national, sexual, and familial identities in collusion and in conflict. (for more on this and for an overview on the films of Fassbinder please see the excellent Film.com article by Daniel Walber here!)
Phase 1 is arguably his most experimental and innovative films, here you’ll find the genre infused stuff, tinged with film-noir, horror and scifi trappings, the genres that I enjoy. Pro-active genres. I find myself generally not the audience for his phase 2 or 3 films, I’m not a fan of melodrama or just statement films. But with most of these later films not yet tried, I’m open to being pleasantly surprised.
But Phase 1, his cinema of statues and stylization, static but wonderfully composed frames, filled with actors who are at times more statues than men, and when they are animated it is often in very jerky, stilted ways. His women, leading ladies, are variations on a theme, big eyed, statuesque but often emaciated to the point of boniness, strawberry blonds, odd beauty bordering on the antithesis of beauty, mannequins and masks, and a wonderful use of angles and reflections.
In pieces the movies should not work, stilted, unnatural performances, what is generally considered signs of amateurish or bad acting. However in WORLD ON A WIRE (WELT AM DRAHT, 1973), that ugliness and unease, the uncomfortable pauses, the shots held too long, the awkward pacing, inappropriate and at times overbearing use of music, things we typically identify with bad films and bad filmmakers, in these two films of Fassbinder all these flaws are stylistic choices and become instead function, negating themselves and becoming calling cards of a fundamentally different definition of cinema.
WORLD ON A WIRE, which virtually nobody talks about, is this outrageous and ambitious and way long mini-series of a movie, equal parts science fiction, mystery, and avant-garde film, that has this incredibly intriguing and prophetic premise about a world in which they create not just an artificial intelligence, but an artificial world peopled with artificial intelligences.
The intelligences are programed to be perfect representations of people, and have a based in time and motion relation to each other, and capable of sex and love and procreation. So an AI universe that is self propagating, and more predictive, as the world is designed to be on a 20 year curve, so the shopping habits and economic changes and housing changes and conflicts that occur in the artificial world today, will be predictive of what happens in our world in 20 years.
It’s a brilliant, mind blowing concept, that you’ll find in better science fiction stories, but not in movies; particularly not in movies of the period, the early 1970s. On top of which the AI universe is viewable and interact-able by means of downloading someone into one of the AI inhabitants of the AI world. What??? That is mind blowingly brilliant and audacious premise for a film, even today in 2016 in an age of avatars, much less for a film made nearly 50 years ago.
And all of that, is not even what the movie is mostly about: it’s a film-noir movie. With a scientist trying to get to the bottom of his coworker’s disappearance. And then there is all the Fassbinder weirdness going on this movie, that just adds yet another level to the movie.
The doll like women who never seem to blink, random moments of strangeness, [a party scene, where people seem not to move, and the few who do, do the same movements over and over again. A scientist called into his bosses office for serious conversation which they have while not looking at each other and spinning in circles in their chair. a night club with mostly nude attractive Black Men and women dancing while the clothed patrons walk past feeling them up… it is just craziness that comes out of nowhere, but all of it leaves you gobsmaked and off-kilter and not knowing what is coming next.} And it’s not comedy, Fassbinder isn’t just taking the piss or going for laughs here, he is telling a straight story, but he is using a crooked path, fueled by dream logic, he wants the delivery not to be what you are expecting and in WORLD ON A WIRE he succeeds.
Fassbinder, very much the spiritual predecessor to later avant garde filmmakers such as David Lynch and Lars Von Trier, was a young maverick director who died way before his time at the age of 37, however in less than a score of years (before his untimely departure) he would make 44 films, 39 of those being feature films. It is a staggering body of work to have produced by the age of 37. How many of us will ever make one film, much less 44 of them. And to make such across the board unique films, love them or hate them, is a great testament to someone who obviously ate, drank and slept cinema.
Grade: B+. It is definitely not for everybody, but if you like directors who are creative with cinematography (not just 360 degree shots but 540 degree shots), adventuresome in storytelling, and loyal to their actors (Fassbinder works with the same actors repeatedly, including actors of color, such as El Hedi ben Salem, rarely done for the period, and still too little done today) then this is a film for you. Recommended.
A look back at some really old comics by an even older comics fan
Music, Movies, and Other Entertainment
Welcome to the World Up Close. A blog that aim to provide the audience with informational and helpful articles on niches like Travel, Relationships, Entertainment and Money.
Tales of a man with terrible timing.
Cult, classic and crazy movies you must see, might see and maybe miss