Tuesday, June 14, 2016

THE LOSERS 1970

aka NAM'S ANGELS

Ultimate Bad-Ass William Smith & His Biker Gang 
Channel Some Dirty Dozen Style Action in Vietnam !!


"THE ARMY HANDED THEM GUNS... AND A LICENSE TO KILL !"




      During the Vietnam war, the U.S. Army is faced with a risky mission in forbidden Cambodia and unable to send regular U.S forces they do the next logical thing and recruit a biker gang to carry out the mission. Combining plot elements of THE DIRTY DOZEN mixed with the biker movie genre and adding in tough guy William Smith along with cycle flick regular Adam Roarke, the weaslley Paul Kolso (in a rare semi- sympathetic role) and direction by the great Jack Starrett which when all combined together would seem to create instant drive-in alchemy.
     Although any biker movie with William Smith is pretty much an automatic thumbs up the problem with THE LOSERS is that it doesn't seem to have much of an idea with what to do with itself before the climactic attack sequence. Filmed entirely in the Philippines it probably would have benefited from some more recruitment and back story plot workings (ala' THE DIRTY DOZEN) but most likely because of budget and the ease and economics of using Filipino filming exclusively for the entire film this was not to be.
      Opening with a bang and a roar, we're shown a U.S. Army truck convoy being ambushed as they travel along a jungle road and then upon arriving in camp, gang leader "Link" (William Smith) and his cohorts (who are all fitted out in full biker regalia) chamber off the back of the trucks. The gang which includes "Duke (Adam Roarke DIRTY MARY AND CRAZY LARRY), "Dirty Denny" (Houston Savage),"Speed" (Eugene Cornelius RUN ANGEL RUN) and "Limpy" (Paul Koslo MR. MAJESTYK) have been recruited by an Army major (who happens to be Link's brother) for a secret mission. A diplomat/CIA agent has been captured and is being held in Viet Cong prison located just over the Cambodian border. Seeing how American forces aren't allowed to cross the border, the U.S. Army hires a gang of bikers (!) to complete the rescue as there's obviously no problem with a group of denim and leather-clad bikers from the U.S.A. tearing into the war and blowing up tons of stuff.



     Several of the gang members are ex-military and upon arriving in camp they find themselves under the leadership of ramrod straight Capt. Jackson (Bernie Hamilton from STARSKY AND HUTCH), along with his right-hand man Sgt. Winston (John Garwood HELL'S ANGELS ON WHEELS). Immediately they jump into things bikers from biker movies do best - including the requisite fighting, drinking and messing around with women, all of which leads to a lengthy wait until the film's climax. In the meantime, they do get to hang out at a bar complete with a rock band and a woman in her underwear go-go dancing.
     To the film's credit, it does attempt to give a bit of depth to the characters as Roarke's "Duke" hooks up with his old girlfriend from his service days and Limpy falls in love (in the space of about two minutes) with a young Vietnamese widow, developing a bond with her and her young child. Luckily Dirty Denny is around to keep the biker credo alive by jumping into his old business of running a bar/whorehouse and engaging in orgies with his girls.


You can't have a sweaty Filipino drive-in flick without Vic Diaz !!

     It's here that the proceedings get s a bit bogged down as there's not a whole lot of action to move the plot along, but the film in the place of this does try for some character development that differs from most biker films (plus, there's a nifty sequence involving the gang customizing their cycles's into combat mode complete with armor plating and rocket launchers !). As with most biker films there lots of footage of motorcycles rolling down the road (although down a jungle road here) and the sequences with Roarke and Koslo's romantic interludes while giving the depth of the character does slow things down a bit. As mentioned Koslo's transformation from grungy biker to caring family man seems to happen literally from one scene transition to the next.
    The cast helps with this immensely as with lesser actors in these roles the lengthy middle sequences would suffer even more. Although he often played tough roles Roarke always lent a bit of pathos to his characters and was always undervalued as an actor. Paul Koslo has spent his career playing weaselly spineless characters so it's a bit of a change here to see him playing a more honorable guy (albeit a biker) and is one of those actors that seems to quietly steal whatever movies he appears in.




     And then there's William Smith as "Link". Without a doubt, blessed with one of the greatest on-screen presence in the history of movies he seems to engulf the entire film just by standing there and when he's not around you can almost hear the air deflating from the plot.  Here playing an ex-serviceman returning to Vietnam, he quietly convoys a man who once believed in the cause but now is disgusted to see what its becomes and becomes increasingly suspicious of their mission's murky reality. In reality, Smith has an actual life biography that's even more impressive than his IMDB page!
      Director Starrett was one of the true icons of 70's drive-in movies. Although best known to most people as the sadistic deputy in 1982's FIRST BLOOD he directed such classics as RACE WITH THE DEVIL (1975), CLEOPATRA JONES (1973) and A SMALL TOWN IN TEXAS (1976). He sadly passed away in 1979 at the age of only 52 before his career could be fully appreciated.
      The film ends with a suitably rousing finale with lots of explosions with bodies & motorcycles flying about and those typical Filipino stunts that make you wonder what the real-life casualty rate was during the film's production. The climax also features a cameo by Jack Starrett as the raving paranoia-fueled CIA agent whose object of the rescue.  






  

Thursday, May 12, 2016

LA MARCA DEL HOMBRE LOBO aka THE MARK OF THE WOLFMAN aka FRANKENSTEIN'S BLOODY TERROR 1968/1971

 




"See the wolf monster attack - lusting, slashing ripping 
in gory, flesh hungry, blood mad massacre !"


 The American release was shown in "Super 70mm Chill-O-Rama" ! 
(which I'm sure is a whole creepier then regular 70mm !)

  
      Although not the first Spanish horror film, 1968's LA MARCHA DEL HOMBRE LOBO (MARK OF THE WOLFMAN) was arguably one of the films that kick-started that genre's golden age in the coming decade. In addition to being his initial foray into horror, this was Paul Naschy's first portrayal of the tortured nobleman/werewolf Waldemar Danisky. Backed by some healthy German financing it was shot in 70mm along with 4 track stereo, with even a 3D version being produced. Like many of his future films, this was scripted by Naschy under his given name of Jacinto Molina.
     At first glance, Naschy would seem to be an odd choice for a leading man in Gothic horror, as the former championship weightlifter was short, stocky and barrel-chested with an obvious comb-over (that's even more apparent as his films make the transition to HD). He did, however, have a magnificent screen persona as with his dark brooding looks and piercing eyes he was able to project both an aura of sinister evil along with a melancholy sadness in his characters.
     Released in Europe in 1967, this was picked up in 1971 by producer Sam Sherman for release in the U.S. as a co-feature to Al Adamson's woeful DRACULA VS. FRANKENSTEIN. Sherman had promised his distributors a "Frankenstein" film for the double bill and as his production of a proposed 2nd feature fell through he looked to acquire an overseas production that he could re-tile. All of which makes it odd that he chose a movie with no Frankenstein monster in it - and even more bizarrely he passed on Tuilo Demicheli's 1970 "monster rally" type feature ASSIGNMENT TERROR which included a Frankenstein type monster, along with Naschy's werewolf (plus Dracula and a mummy !).




     MARK OF THE WEREWOLF serves up two werewolves along with a male and female vampire, but Sherman was bound and determined to give the audiences a Frankenstein monster in some form. In a great piece of showmanship, he tacked on a crudely animated prologue which explains that the Frankenstein family was cursed and branded as "Wolfsteins"(!) and in addition lopped-off the two opening reels to get it down to a more double feature friendly length, along with tacking on an appropriately lurid title in FRANKENSTEIN'S BLOODY TERROR. All this means that the film contained no Frankenstein monster, which must have left some patrons feeling a bit gypped (but with that being said, they might have also felt a bit gypped after seeing the co-feature DRACULA VS. FRANKENSTEIN).
     Although taking place in contemporary times MARK OF THE WOLFMAN, like many a Euro-horror film, seems to exist in a strange nether-world where jet setting rich folk dash about in sports cars and live in richly appointed Gothic estates while gypsies in period costumes trod about in horse-drawn wagons and everybody speaks about ancient curses, vampirism and lycanthropy matter-of-factly with no doubt to their existence.




Some nice candelabra action here !

     Directed by Enrique López Eguiluz (this being his only genre film) and beautifully shot by Emilio Foriscot (who was the later cinematographer on Sergio Martino's THE CASE OF THE SCORPION'S TAIL and THE STRANGE VICE OF MRS. WARDH) this is one of the more gorgeous looking Spanish horror films of the period. Shot in some of the same locations as TOMBS OF THE BLIND DEAD (the El Cercón Monastery in Madrid) characters are often framed in medium and long shots in order to show the fantastically designed & lite Gothic ruins and opulent rooms.
     The film opens with a masquerade ball in the home of the young Countess Janice von Aarenberg (Dyanik Zurakowska THE VAMPIRES' NIGHT ORGY and THE HANGING WOMAN) who's dancing with her just returned from school boyfriend Rudolph. Naschy's Waldemar Danisky bursts into the party (dressed as a satanic Robin Hood) and immediately sets his eyes on the young Countess which causes concern for Rudolph. The fathers of Rudolph and Janice also look on with disdain as Danisky has a reputation locally as a shady character (it's these sequences that were exercised by Sherman).
     Over the course of the next few days, Danisky continues to coincidentally "run into" Janice and shows both her and Rudolph around his ancient family estate where he relates the legend of a cursed ancestor who is buried in the family crypt. Later a very colorful and over the top gypsy couple take refuge in the castle and looking to steal some treasure, they open up the tomb of the cursed relative and upon removing a silver dagger from his chest they allow him to be reborn as a werewolf.
      As the werewolf begins to bloodily ravage the countryside the villagers gather together for a wolf hunt with Danisky being wounded by the werewolf while saving Rudolph's life. Now cursed with being a werewolf Danisky starts his bloody rampage, while Rudolph feeling indebted to Danisky, attempts to help him find a cure. Added by Janice they locate a document that references a Dr. Mikhelov who may have a cure. Realizing the doctor is now dead they write to the address and soon the a mysterious Dr. Janos Mikhelov (Julián Ugarte from ALL THE COLORS OF THE DARK) and his "assistant" Wandessa (the very beautiful Aurora de Alba who also appeared with Naschy in THE HANGING WOMAN and VENGEANCE OF THE ZOMBIES) show up. All of which set up vampirism, satanic rituals and a one-on-one werewolf fight to the death.




      Even though this is Naschy's first outing as his famous alter ego it's pretty amazing to watch him here as hurls himself from the screen full force. Like Christopher Lee ten years before who had burst from Hammer's HORROR OF DRACULA with his highly athletic and sensually sadistic portrayal of the title character, here Naschy brings a highly charged ferocity to his werewolf. He leaps through windows, hurls himself full force at his victims and bloodily mauls them all the while growling and snarling (although the patented Naschy werewolf drool is not yet in play here).
     As mentioned, this is one of the most beautifully shot films from the golden age of Spanish horror. Filled with weird Mario Bava like lighting with the camera seemed to literally drink up the Gothic atmosphere (there are several times you want to hit pause, just to study the set design). There are also several instances of quiet poetic like beauty such as Wandessa's seduction of Rudolph as a flowing satin veil slowly covers the couple and later as Janice and the vampire waltz through ruined catacombs as they move through various colors and swirling fog.




     The female cast is beautifully filled out by Dyanik Zurakowska and Aurora de Alba with some special attention needed to be paid to de Alba. A bit more mature then most other horror actresses of the time (she somewhat reminisces of Helga Liné) and looking absolutely mesmerizing here, she brings a wonderful sinister sensuality to her role. She was also pretty unforgettable in VENGEANCE OF THE ZOMBIES and TERROR OF THE LIVING DEAD (aka THE HANGING WOMAN - which also co-starred Dyanik Zurakowska).
      Some years ago Shriek Show released FRANKENSTEIN'S BLOODY TERROR on DVD which contained the long European cut (with English dub) along with Sam's animated prologue. Hampered by some uneven coloring and obviously coming from different film sources, it does contain an informative & fun commentary by Sherman as he relates the convoluted distribution of the film and says that he's still in possession of a 70mm 3D print. It's also been released in Germany by SubKultur (under the title DIE VAMPIRE DES DR. DRACULA) on Blu-Ray as part of their ongoing Naschy series.
     This was my (as I'm sure it was many a "monster kids") first exposures to Naschy as it seemed to run almost continuously on my local late night 70's TV. The original ad campaign promised a free burial to anyone who died of fright while watching the film!








*With the exception of the two title cards from the American release which were taken from the Shriek Show DVD all the above screencaps are from the SubKultur Region B Blu-Ray*