Cinema – Page 8 – An Echo That's Reversing

Beast of Babylon Against the Son of Hercules (1963)

L’eroe di Babilonia (The Hero of Babylon), image from IMDB

Giallo film festival

I immersed myself with Dario Argento/Mario Bava/Lucio Fulci flicks a few years back (so probably 10 years back) having approached them most likely from my immersion in Italian zombie films of the 70s, which was actually a thing. Relatively recently (so probably a few years back) I watched Argento’s The Bird with the Crystal Plumage, a stylish thriller and a departure from his standard psychological horror. It hooked me.

And so I became obsessed with Italian giallo films. Their characteristics, generally, include: murder (natch), suggestive supernatural elements, the absolute grooviest clothing and interior design that you could ever imagine from 70s Italy–even if the setting was ostensibly the US or Germany or wherever–and a high breasts-per-scene ratio. The mood will range from thrilling cat and mouse tension to a Gothic molasses of lingering ennui. A more keen eye than mine could enumerate more fully on the shared cinematic tropes. The quality, as with anything of course, is greater-or-lesser but they are never a waste of time if you’re looking for that impossible combination of gritty murder and stylish, iconic 70s.

The Hammer vampire trilogy

Shudder has Twins of Evil, the third film in Hammer Films’ Karnstein Trilogy so–even though they’re not part of a single story–I had to hunt down the first two and watch them in order.

Previously:

November 2015 – Jess Franco films including his Karnstein/Carmilla-inspired Female Vampire
July 2018 – Franco’s Daughter of Dracula, another with a Karnstein vampire

Currently:

The Barb Wire canon

Updated the next day

Continuing my Great Literature series begun with Red Sonja and Conan, I’ve started reading the Barb Wire saga.

She’s a part of the Dark Horse Universe. We forget (or even don’t know) about it because of the supremacy of the DC and Marvel mythologies; like Greek and Roman, in no particular order, since so many of the super strength, super fast, invisible, other-dimension-origined, et al. are merely different manifestations of the same gods. Dark Horse fits into this framework but on a smaller scale and with some indie differences. For example: there is the odd character Concrete who is a man with his body replaced–for some reason–with a minimal-featured stone body, and who has to learn to live in his new circumstances. It’s more middle-aged Bildungsroman than superhero. Dark Horse’s polished indieness is appealing in a different manner than the experimentation of less established indie publishers. Solid yet daring.

The Hellcats (1968), MST3K, The Moonfire Inn

Early in the movie, the Army Sergeant hero going undercover ends up at The Moonfire Inn to infiltrate those rapscalious (?), brother-killing bikers in their local haunt. When watching bad 70s movies and I see a named restaurant or bar, or a phone number, I get obsessed with a search for any remnants of it that may still exist. Either to see a record that it once-had-been or to see it manifest in its current form. When I was reading S.T.A.R. Flight (1969), there was an insert for the DeVry Institute (yes, that one) that was to be mailed back to 4141 Belmont Ave. Chicago, IL 60641 and I had to screen cap the current street view. (When my dad no longer was, one artifact left behind that fascinated me was a jar of matchbooks from various restaurants and hotels he ate and stayed at as a salesman throughout the 70s and 80s. Since then, I wanted to create a blog with an entry for each matchbook and what could be discovered of its origin. Still a good idea (and TBD) but probably a manifestation rather than source of my obsession.)