Its amazing what you find when you go trawling through the microfiche archives for your local newspaper.
When browsing through the back issues of The Yorkshire Evening Post for 1979 I noticed that The Warriors, Walter Hill’s gritty, comic book style New York action flick was actually shown at a ‘members only’ cinema called The Tatler here in Leeds rather than the bigger Odeon and ABC cinemas where I’d expect a big studio film (The Warriors was made by Paramount) to play. Why was this?
With a bit more research I discovered why. Local authorities here in the UK can view any film that the BBFC has rated 18, or when The Warriors was released, X certificate. They can then go further than the BBFC and ban a film outright if they wish to do. These are exceptional cases but in the past this has happened. The Life of Brian was notoriously banned in Hull until 2008.
This can also happen in reverse- a local authority can show a film in cinemas in its threshold that the BBFC has banned. This occurred in 1999 when Camden Council awarded The Texas Chain Saw Massacre a special ‘C for Camden’ certificate to show the film even though it was still banned by the BBFC. I was lucky enough to see the film during this run. It was reclassified as an 18 and no longer banned by the BBFC shortly after this.
In the case of The Warriors, the local authority here in Leeds chose to ban the film even though the BBFC has classified it as an X. This was due to the violent content of the film.
However, you can’t keep a great piece of art down for too long. There was a loophole that meant that any banned film can be shown uncut in a licensed ‘members only’ cinema even if its been banned by the BBFC or a local authority.
And thats just what happened in Leeds. The Warriors was shown at The Tatler Cinema- a ‘members only’ cinema that at that time was showing ‘erotic’ (or as we’d say here in Leeds- ‘mucky’) films.
This must have been a massive two fingers up to the Leeds local authority who thought that no one would be able to see this film that they thought would corrupt and inspire a whole slew of really nicely choreographed gang violence here in Leeds as The Armley Baseball Furies fight for their turf against The Gipton Riffs.
This loophole was later amended by the BBFC decades later to prevent uncut films (specifically with pornography in mind) being shown in members cinemas if the BBFC had banned them or not certified them R18.
Strange bedfellows- The Warriors, a film made by huge studio Paramount Pictures being shown at a cinema that primarily showed porn. Overzealous censorship makes great comedy.
From the director of the quite extraordinarily brilliant How To Survive A Plague comes this film.
Marsha P Johnson was a black transvestite/drag queen (there was no ‘transgender’ then) who hung around Christopher Street in the 60s until her mysterious death when she was pulled out of the Hudson River in the early 90s. As we hear from one person captured on video back then who witnessed her body being recovered there appears to have been some kind of wound on her head. Could there be more to Marsha’s death than just the officially held cause being accidental? Was it suicide or homicide?
David France expertly tracks the work of Victoria Cruz in unearthing and unravelling what happened to Marsha whilst celebrating this revolutionaries life. Moments of this documentary are sometimes very shocking. One such is when Ms Cruz telephones a retired member of the NYPD who she asks to meet to discuss the circumstances surrounding Johnson’s death. ‘Definitely not’ he responds to her meeting request. He then warns her ‘Don’t go playing detective’. Sinister.
This film feels like new unexplored relics and answers from LGBT history being unveiled right before your eyes.
However, there are politics at play regarding the film. Some members of the non-white trans movement are slamming France’s work as hes a white cisgender (non-trans) man who is making this film rather than a trans person of colour. There have been accusations of theft of material from another project that was being made by the trans community regarding Johnson. There are also accusations that David France could get funding and distribution because hes white and cisgender. I think these accusations are just a case of sour grapes. If you are a filmmaker who has made films before, have a proven track record and can actually accomplish these projects through to fruition then you will get funding and distribution. How long have we been waiting for the fictionalised short film Happy Birthday, Marsha? I’m amused that its fictionalised- so was Stonewall in 2015. Lets see if there are protests regarding this new film if events are seen to be historically accurate.
Also, does it matter whether the person making the film is trans or cisgender or what their ethnicity is when the film they make is as great as this?
There seems to be a huge emphasis on Marsha and Sylvia Rivera when it comes to LGBT history and the Stonewall Riots. But when anyone else is represented they are lumped together and not given the same kind of detailed analysis or be the centre of attention. I’d love a similar documentary on Danny Garvin, Martin Boyce or the person widely believed to have started the riots- Jackie Hormona (Marsha P Johnson admitted in an interview that when she arrived at the Stonewall Inn on that fateful night in 1969 that the rioting had already started. The interview is here- makinggayhistory.com/podcast/episode-11-johnson-wicker/ She dashed off to Bryant Park to tell Sylvia Rivera who had taken heroin). You don’t know who Garvin, Boyce or Garvin are? Thats very telling.
A great documentary. Now lets hear about other Stonewall voices.
There was a long standing tradition for Turkish remakes of huge Hollywood blockbusters. These remakes have miniscule budgets and are made quickly so that they can be released soon after the original.
The Exorcist was remade in Turkey for a tiny proportion of the original’s budget. This means that we get hilarious special effects, truly garish decors and the worst hairstyles ever committed to celluloid.
But whilst we know what we’re getting this film is a true cult movie through and through. It might be cheap and tacky but its also what a lot of more expensive films struggle to be- utterly charming, engaging and a pleasure to watch.
Let me leave you with a question- would you rather watch a film like this or a Hollywood studio multiplex movie that has a budget of millions but also has characters you couldn’t care less about, an uninspired plot and CGI that makes the film look more like a computer game?
I hope these Turkish remakes get restored and released on Blu ray. I’d buy them.
Whilst on holiday Virginia bumps into her old friend and one-time lesbian fumble, Bet. Virginia’s ‘friend’ Roger asks Bet to continue with them on their travels but whilst on the train the next day Virginia is angry at the attention Bet is getting from Roger who insists that he and Virginia are actually just travelling buddies and nothing more. Virginia decides to jump from the train when its moving slowly through a deserted town called Berzano. Bad move. Berzano is home to a medieval Satanic cult who many centuries before were killed for their religious beliefs and sacrificial practices. The eyes of the worshippers who were all hung were pecked out by birds. These blind devil worshippers now come out at night from their graves to hunt for the living to feast on.
And so begins this Amando Ossorio Spanish-Portugese gorefest that was made in 1972 and helped spearhead a resurgence in Spanish horror.
This film is a cracker- great locations, a downbeat tone to proceedings and its pessimistic as all hell. Whenever something can go wrong it does and badly! Theres also a brilliant pace to the film with the viewer never being bored by any sequences. All killer, no filler.
Watch out for the character of the morgue keeper who takes great delight in showing the dead bodies of the recently deceased to those who have to identify their bodies. Theres also a hint that he does unspeakable things to the corpses in his spare time. He seems to love his work and way too much!
A special mention to the costume people and hairstylist. The characters in this are dressed in the grooviest of 1970’s couture with all of the women having gorgeous ratted up hair. Perfect 70’s Euro horror.
Oh, and watch the original Spanish version called La Noche Del Terror Ciego. The American dubbed version has scenes of gore missing as is the flashback to Bet and Virginia getting all lesbianic with each other. Its also resequenced and not as good.
The other half of a double-bill in UK cinemas with the other film being the far better The Incredible Melting Man. This was actually made for television in America.
Killer bees have flown into America and are claiming their first casualties disturbingly close to New Orleans when their Mardi Gras is due to kick off. A bee expert (of course) and a guy who isn’t quite a coroner yet (so he isn’t taken seriously) are on the case but come up against obstacles in the form of sniffy officials who don’t want to see Mardi Gras cancelled- at any cost (hints of Murray Hamilton’s character in Jaws here).
We learn that the bees don’t like noise and the colours black and red. The first human victim is a coloured girl in a red dress blowing a toy horn. Not her lucky day.
The finale involves Ms Bee Expert being nudged into a sports stadium in her red Beetle which the bees have covered as she was earlier using the horn near them (doh!). The temperature of the Super Dome is then lowered as the bees die when temperatures reach below 35 Degrees Fahrenheit. This sequence is very unexpected and works well with tension being ramped up as the temperatures come down (we see this on huge displays which show the actual countdown).
This is an above average TV movie which received a video release in some territories. There aren’t enough action sequences and some of the more talky bits are quite pedestrian. But when it gets going its quite exciting. Because I saw it on TV when I was a small child and loved it then it will always hold a special place in my little black heart.
Look out for the scene in which someone in fancy dress tries to take on the bees with a sword. Yes, a sword!
I first learnt of this film’s existence by walking past a cinema at the tender age of 4 and seeing a poster for the double bill of this and a TV movie that was shown theatrically in the UK called The Savage Bees (to be reviewed tomorrow night). Even the poster for this genius double bill of terror fucked me up psychologically as I was obsessed with the idea of the villians of both films coming to get me when I was least expecting it.
I finally saw The Incredible Melting Man years later on TV- and loved it. It harks back to the horror films made for drive-ins in the 1950s. The plot involves three astronauts going on an expedition to Saturn (“You’ve never seen anything til you’ve seen the Sun through the rings of Saturn”). But something goes wrong and the only surviving astronaut, Steve West comes back to Earth to find that his body is slowly melting. We find out that to slow this down Steve who is now insane, must consume human flesh to decelerate the decomposing process.
This film is ripe for people to call it ‘so bad its good’ as if its absolutely terrible. It isn’t- and not by a long chalk.
Yes, sometimes the acting is a little, erm, natural shall we say (the actress who plays the mother who stops off to steal lemons reminded me of Edith Massey from John Waters’ films. Yes, her acting is that raw!).
But theres also some of the best special effects I’ve ever seen which were crafted by a young Rick Baker. Yes, the Rick Baker who won seven Oscars (take that cinema elitists). The melting effects are very aesthetically pleasing and the scenes in which El Melto sheds an eyeball and leaves his oozing ear on a bush have to be seen to be believed. Watching a severed head splat on a rock after going down a waterfall in slow motion is also a beautiful sight for horror fans.
Theres also a cameo by a young Jonathan Demme as the boyfriend of a teenage girl played by none other than Janus Blythe who played Ruby in The Hills Have Eyes. Her performance is brilliant. I love any character that goes mad at the horror of what has just occurred. She does a great job with her character alternately crying and laughing manically.
But theres also a greater depth to this film. There are many scenes of West walking up and down hillsides with the sun setting behind him and with the sounds from the expedition in his head. These scenes show Steve to be completely alone and nomadic. West is a melting freak but not through choice and is so grotesque that he’s utterly ostracised and feels completely separated from the rest of the human race. These sequences reminded me of the melancholic piano music at the end of each episode of The Incredible Hulk or the underlying sadness to the TV programme The Littlest Hobo. The audience feels pity for West and his condition rather than his character being a two-dimensional grotesque baddie with no other sides to his persona.
Theres also a heartbreaking scene wherein Steve reaches a barrel of water on his wanderings and sees his reflection that makes him cry out and place his head in his heads.
This film also possesses a scene which is the hallmark of a really fucked up movie- someone runs through glass. A nurse runs through a plate glass door after seeing Steve’s face when he removes his bandages for the first time. If this ‘running/throwing yourself through glass’ scene is in a film you know its special and that you’re watching high art. The scene appears twice in Texas Chain Saw Massacre (1974), twice in Friday the 13th: The Final Chapter (1984) and once in Halloween 2 (1981)- all great, fucked up pieces of cinema.
Any film that features the lead character melt in a great big pool of ooze at the end and is then seen being swept up and placed into a trash can by a janitor is A-OK with me.
The next time someone tells you that The Incredible Melting Man is one of the worst movies ever made tell them to fuck off. They wouldn’t know great entertainment if they fell over it.
A gorgeous slice of Ozploitation that is extremely well made, acted and written. A young man named Patrick is in a coma after killing his parents three years earlier. A new nurse named Kathie has been assigned to tend to him and they strike up a relationship through a typewriter that Patrick can telekinetically control and through the only bodily function that Patrick can control- his ability to spit (one for yes, two for no). Strange things start to happen in Kathie’s life regarding the husband shes recently separated from and the doctor shes just started seeing. Could Patrick be responsible?
I love a movie in which the lead character is in a coma but strangely gives a great performance in that state. In fact all of the cast are great and if you’re a fan of Australian TV then you should be able to recognise most of the actors. I recognised the actors who played Captain Barton the Salvo Army man, Evelyn Randell and Irene Zervos from Prisoner Cell Block H.
The setting of the sinister hospital wouldn’t be out of place in an early Cronenberg film. The building seems to constitute another character in this film and a very foreboding one.
This is a favourite film of Quentin Tarantino, fact fans.