Molly and the Gold Baron, by Stephen Overholser

Literary rating: starstarstar
Kick-butt quotient: action2

Stephen Overholser is the son of acclaimed Western author Wayne Overholser, who’s followed in his father’s footsteps as a writer of Westerns; both father and son have been Spur Award winners. The younger Overholser created the character of Molly Owens as the protagonist of one of his early novels, Molly and the Confidence Man (1975), and went on to write five more novels featuring her. Orphaned young, Molly and her now-deceased brother survived a rough childhood on their own; after he came West, she answered an ad and went to work for the Fenton Detective Agency, which is fictional, but modeled on the real-life Pinkerton Agency –which actually did employ women detectives, Kate Warne becoming the first in 1856.

Overholser set much of his work in his native Colorado; Molly’s based in Denver, and this tale is set in the real-life Colorado mining boom town of Cripple Creek in ca. 1893. That setting is actually drawn with considerable accuracy, and the depiction of the community’s history and labor troubles in that period reflects actual realities, with some license and changing of names. (I’ll give Overholser credit for doing serious research.) While I wouldn’t describe the author’s characterizations as sharp, Molly comes across as a kind person who cares about justice, as well as both brave and capable. She approaches her detective work with good observation skills and intuition (and isn’t above picking a lock or two if that’s what it takes to hunt for evidence).

Sue Grafton’s Kinsey Milhone, debuting in 1982 in A Is for Alibi, is usually considered literature’s first gun-packing female detective who could handle rough stuff if the baddies wanted to throw it at her. Yet Molly preceded her by seven years and is no shrinking violet where combat is concerned, either with her double-action Colt or with her fists and feet (and she can deliver a pretty nasty head-butt as well); she just was never noticed by mystery-genre critics because her venue is in a different genre. Here, her assignment calls for her to get to the bottom of a pregnant prostitute’s bogus paternity suit against a newly-rich prospector; but the case soon morphs into an unauthorized murder investigation, in the context of a labor dispute between mine owners and mine workers that threatens to become a blood bath. (Some on both sides are up for illegal violence, but the mine owners and their thugs are the more dangerously violent.)

As is true of some other works in this genre that I’ve read, the author’s prose style is mediocre, adequate but uninspired, workmanlike pulp that does the job in an undistinguished way; he tells the story and allows you to picture the action and settings, but this isn’t a novel you’d read for scintillating dialogue, vivid turns of phrase, telling details, or description that soars and sings. His plotting is on a similar level; towards the end, a couple of characters make some decisions that serve the storyline, but struck me as dubiously likely to have been made had this been a real-life narrative in the same situation. The mystery element isn’t very deeply mysterious in the long run.

Despite its flaws,though, I basically liked the book as passing light entertainment, and liked and admired the heroine for her genuine good qualities. Personally, I won’t bother seeking out the rest of the series; but if you’re a Western fan who doesn’t demand much from your books and read for recreation, you could certainly pick a lot worse books, with a lot worse messages. And at 172 pages, it’s a relatively short read, and doesn’t require a lot of thought.

Note: Bad language, of the d-word/h-word sort, is minimal and Molly herself pretty clean in her own speech; I wouldn’t guarantee that she never lets a cuss word slip under stress (I don’t have the book in front of me to check) but she certainly doesn’t make it a noticeable habit. There are three explicit sex scenes. (They can be skipped over with no loss of anything.) However, this isn’t a romance as such, nor is it a trashy “adult Western”.

Author: Stephen Overholser
Publisher: Bantam, available through Amazon, currently only as a printed book.

A version of this review previously appeared on Goodreads.

Mythica: The Godslayer

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“End of days”

I think it was only as the end credits were rolling, that I perhaps appreciated this series fully. Sure, in many ways, these films have been a poor man’s Lord of the Rings knock-off, with a disparate band of hardy adventurers on a quest to stop Ultimate Evil (TM) from taking over. But, dammit, I found myself enjoying them, appreciating their smaller-scale charms and actually liking the characters – possibly even more than Frodo. While this finale doesn’t sustain the non-stop pace of its most recent predecessor, it does a good job of tying up all the loose ends. And if you’ve watched all five, and don’t have a slight moistness around the eyes at the end, you’ve a harder heart than I.

It has all been building to this. Evil necromances Szorlok (Mercer) has put into operation his plan for world domination, using a vast and still growing army of the possessed – and as the title suggests, intends to wipe out the gods, leaving him in sole charge. Can he coerce Marek (Stone) to join him, saying it’s the only way the mass slaughter can be stopped? Or can she and her group of friends track down the Hammer of Tek, the long-lost artefact once wielded by a legendary king, and the only thing capable of shattering Szorlok’s Darkspore, stopping his bid for power? However, if they succeed, what will be the personal cost?

It certainly has been a journey, particularly for Marek, who began as a slave girl with no inkling of the power she held within her, and ends up going toe-to-toe with the darkest force around. Here, her battles are as much mental as physical, since she has to weigh Szorlok’s offer. Is it okay to join up with evil in order to save others? Her moral compass – Jiminy Cricket, if you like – is the half-elf thief Dagen (Stormoen), who not only has to try and keep her focused, but also venture into the underworld, in search of that pesky hammer. [Tek is played by Kristian Nairn, a name you might recognize from another fantasy series. If not, this should be a clue: “Hodor!” Yep: he gets more than that one word here, too…] While Marek is the heroine, it is an ensemble piece, and the others get their moments of bravery and sacrifice too.

The technical aspects are certainly improved from the early days. The Kickstarter alone for this one raised over $131,000, and if sometimes short on the epic scale we’ve come to expect from Peter Jackson, it still has occasional moments where it punches above its weight. But I think it’s really the characters which are the heart of this, as with any good story. What seemed initially like a collection of four cast-offs from a bargain-bin Dungeons & Dragons campaign, have ended up becoming individuals I found myself caring about, and for all the low-budget flaws, I’m genuinely sorry this is the end of the saga. The series proves you don’t need $100 million to make a movie, and also that entertainment value is not strictly correlated to your budget.

Dir: John Lyde
Star: Melanie Stone, Jake Stormoen, Adam Johnson. Matthew Mercer

Miracles Still Happen

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“Truth is certainly more entertaining than fiction.”

We documented elsewhere the incredible, true survival story of Juliane Koepcke, who survived a two-mile fall from the sky, then 10 days alone in the Amazon rain-forest. Naturally, it wasn’t long before a “true-life adventure” version of the story made its way to the screen, starring English actress Susan Penhaligon as Juliane. Outside of Penhaligon, and the actor and actress who play Koepcke’s father and mother (Muller and Galvani), the hook here is that everyone else plays themselves, such as the people involved in the search and rescue mission, for example.

Unfortunately, it isn’t much of a hook, because they didn’t really do much. Like finding the freakin’ plane, it being left up to Koepcke more or less to rescue herself, walking out of the jungle to be found by some very surprised loggers, ten days after the crash. Thus, you get a lot of footage of people flying planes, taking off, landing, radioing in for instructions… None of which adds significantly to the atmosphere, or adds any factual notes of importance. The film is also hamstrung by the very fact this is a saga of solo adventure, which means that once Juliana hits the ground like a giant lawn-dart, it’s her against the jungle. And the jungle isn’t exactly a witty, sparkling conversationalist.

Working around this, Scotese makes heavy use of flashbacks and voiceover. It does stick relatively closely to the facts of the narrative. There is some scathing criticism of this film in Werner Herzog’s documentary about her ordeal, Wings of Hope; Herzog describes it as “extraordinarily bad”, and Koepcke pans Penhaligon for stumbling through the jungle “with the look of a hunted doe” (as shown above!). However, she did apparently consult with the creators – likely further than certain Italian moviemakers would have gone, especially in the seventies. So most of the key moments do agree with what Juliane has said over the years. For instance, she did remember a key survival lesson about finding a stream and following it down, and she did stumble across some crash victims, briefly wondering if they included her mother, with whom she had flown.

It’s generally better off when it simply concentrates on the perilous jungle, especially the moments when you get some idea of scale. The Amazon is big, folks. Credit also due to Penhaligon, who gets steadily more disheveled over the course of what can’t have been an easy film to shoot. She certainly gets closer to a very large anaconda than I would have been prepared to go! But watching her stagger, increasingly bedraggled, around the rainforest is something that isn’t enough to sustain interest. We can only wonder what the results might have been like had Herzog, who narrowly escaped being on the plane which crashed (doing location scouting for Aguirre, Wrath of God), directed this instead.

Oddly, this is credited to ‘Brut Productions’, which was the film production division of cosmetics company Fabergé. I say oddly, because those of a certain age and location will remember 70’s commercials in which heavyweight boxer Henry Cooper touted “the great smell of Brut” aftershave. Seeing its logo pop up in the opening credits here was certainly unexpected. I may well remember that much more than the rest of the film

Dir: Giuseppe Maria Scotese
Star: Susan Penhaligon, Paul Muller, Graziella Galvani

Miss Diamond

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“More like, Miss Cubic Zirconia”

diamond1There’s an exhibition showcasing the first diamonds ever mined in Germany, dug up by the company belonging to Buhler (Kier). Keeping thing safe is the responsibility of security expert Tim (Kretschmann), who doesn’t realize that renowned jewel thief Lana (Speichert) has her eyes on the jewels. So they’re both in for a nasty surprise, because after Lana is caught by Tim in the process of stealing them, it turns out the diamonds are completely fake. Buhler gives her an ultimatum: Lana must find the real diamonds, or she’ll be handed over to the police, and to ensure she doesn’t just run off, tasks Tim with keeping an eye on her. It soon becomes clear, though, that there is more to the mystery than there appears initially, and someone is very keen to stop them from getting to the truth.

This is flat and uninspired in almost every way, beginning with the complete lack of chemistry between Speichert and Kretschmann, though in their defense, the dubbing isn’t exactly helping them. [Or the beloved Udo Kier, who seems to be sleep-walking through his role] However, that can’t explain away the story, which is about as far from sparkling like diamonds as possible, even if you allow for the ludicrous central concept. Diamonds. In Germany.  It features villains who resolutely refuse to behave with even a modicum of common sense. For example, if ever I become an evil overlord, capture my enemies, and need to dispose of them, I will kill them on the spot, not tie them up underground, with the intention of letting them be run over by a slow-moving tunneling machine.

Which brings me to the topic of the action showcased here, and unfortunately, most of it ranges from the physically impossible to the cringe-inducing. The former is showcased during that escape from the tunneling machine, where Lana somehow dangles from a chain with one foot, while simultaneously pulling the 180-lb plus Tim up off the ground. The latter sees Lana doing front flips as she is simply trotting across a roof. Who does she think she is, Catwoman? This soundtrack also appears to be composed by somebody who has listened to too many James Bond films, which simply reminds the viewer of the gulf between this and any 007 movie of the same era.

A couple of marginal saving graces do exist, just not in the central performances, main story-line or cinematic direction. I was kinda amused – perhaps unintentionally – by how crap Tim is. He’s the one that’s always getting knocked out, captured, falling out out boats and generally put in peril, from which Lana has to save him. Some of the vehicle stunt-work is not too bad either. But overall, what you appear to have here is little more than a underwhelming TV pilot, certainly bad enough not to make it to series.

Dir: Michael Karen
Star: Sandra Speichert, Thomas Kretschmann, Udo Kier, Michael Mendl
a.k.a. Die Diebin

The Monster

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“Less would be more.”

monsterThere is a time when a film-maker needs to fall out of love with their script, and approach the resulting movie with a cold, critical eye, analyzing every scene with a single question in mind: Is it essential to the story being told? And if the answer isn’t “Yes”, then the scene needs to be ruthlessly excised. If you don’t, then what results is this film, where a good idea, which could have been lean, mean survival horror at its most stripped-down, becomes instead a cumbersome exercise in social drama.

Single mother Kathy (Kazan) is driving teenage daughter Lizzy (Ballentine) to her father, when they hit a wolf that has run out into the middle of the road on a remote country stretch of highway. While injuries are relatively minor, the car is unable to continue, and they have to hang out and wait for a repair truck to show up. However, when it does, and the mechanic is at work beneath their vehicle, the wolf’s corpse vanishes. Lizzy tracks it down in the woods, only to discover it shows signs of having been eaten, leaving her and her mother to wonder: what was bad enough that it could make a wolf run? They’re about to meet the answer.

It’s all the film needs, and when it concentrates on this, Bertino (who directed above-average home-invasion film, The Strangers) crafts a taut, effective work, as mother and daughter have to put aside their differences in the name of fending off the creature. The problem is the film’s insistence on inserting entirely unnecessary flashback scenes. They’re unnecessary because the dysfunctional nature of Kathy is established perfectly well before they have even left the house; everything thereafter is superfluous, and had me suppressing an urge to yell, “Enough, already! We get it!” at the screen.

I also get that the creature is intended to be a metaphor – though whether it’s intended to represent Kathy’s addiction-affected personality or Lizzy’s issues with trust and abandonment, is likely open to discussion. Either way, the mother is the monster in this interpretation; but again, it’s the kind of thing which works best when left for the audience to figure out or not, offering bonus depth if you want it. Here, Bertino seems to prefer whacking the viewer over the head with his subtext, to the point I had to undergo concussion tests.

On the plus side, Ballentine makes for an engaging young heroine, and the monster was laudably done with practical effects rather than CGI; given the relatively small budget, it looks decent enough. If you liked The Babadook – and I wasn’t particularly impressed with that either – then you might look more kindly on this attempt to merge the cerebral and the visceral. Only the latter half worked for me, the former providing more of an annoying distraction than offering any enhancement to the story.

Dir: Bryan Bertino
Star: Zoe Kazan, Ella Ballentine

The Muthers

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“Jolly rogered.”

This is a strange cross-breed between a blaxploitation flick, a pirate movie and a women-in-prison film. Then again, a lot of the seventies films coming out of the Philippines tended to be at least somewhat bizarre, and this is likely no exception. The titular gang are pirates, led by Kelly (Bell) and Anggie (Katon), who roam what appears to be the Caribbean, going by the mention of Santo Domingo, but is actually in the Eastern hemisphere, boarding and robbing unsuspecting vessels, and fighting with a rival band of brigands using their kung-fu skills. However, Kelly’s sister goes missing, and is tracked down to a coffee farm belonging to the evil Monteiro (Carreon), which he runs in the manner of a pre-Civil War Southern plantation. Our heroines go undercover, only to discover getting out will be tougher than getting in.

It starts off in fine form, coming over as a modern, urban version of a sixties swashbuckler, and it’s a shame it didn’t stick to this premise, which would have offered something rather innovative. Instead, from the time Kelly and Anggie – yes, there is apparently an extra “g” in there – show up on the farm, it goes down too well-worn a path, with sadistic guards, fellow inmates who cozy up to their captors, and showers. Lots of showers. After the expected breakout attempts, recaptures and punishments, things eventually end in an equally expected riot, enlivened somewhat by the unexpected return appearance of the rival pirates, as allies of Monteiro,

muthersBoth Bell and Katon had worked with Santiago before, in T.N.T. Jackson and Ebony, Ivory & Jade respectively, and make a decent impression here. I’ve read a few other reviews that rip into this for poor-quality action, yet I can’t say I hated that aspect too much. Sure, there are times, particularly for any acrobatic moments, where the doubling is not exactly well-concealed. But there are other times where they’re putting in their fair share of effort, and should be appreciated for that. It is, if not quite tame, rather less sleazy than some on Santiago’s offerings. At first, I thought this was because I was watching it on Turner Classic Movies (yes, a refreshingly broad definition of “classic”!), but turns out to be fairly mild. Mind you, Bell’s ultra skin-tight top doesn’t exactly leave much to the imagination there!

On the whole though, I’d have preferred if it had stuck with the pirate theme present at the beginning, which was a good deal fresher than the rote WiP fodder served up in the middle. Maybe I’m just grumpy because I did lose a bet with the wife: on seeing a guard tower overlooking the workers’ huts, I predicted it would later explode in a giant fireball, as a guard falls from it. I am disappointed to report that this simple pleasure was with-held from me. Sheesh, what is the world coming to, when a film from the golden age of Phillsploitation can’t even deliver on this expectation?

Dir: Cirio H. Santiago
Star: Jeannie Bell, Rosanne Katon, Trina Parks, Jayne Kennedy

Maggie Marvel

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“Juggling family and career can be murder.”

maggiemarvelMaggie Marvel (Beretta) is a single mom, with all the issues that implies. She has to try and juggle work with raising young daughter, Samantha (Katherine Brennan), on her own. But complicating matters enormously, is that work in this case is operating as an assassin for criminal kingpin Dutch – who also happens to be Maggie’s estranged father, who sent her away after his wife (and thus, Maggie’s mother) tried to poison him. Maggie was raised instead by Dixie Brown (Barron), who also works for Dutch as a killer. For he believes women are better at the job, and though he employs men, such as Bobby Shea (Dan Brennan) and his brothers, they are kept for non-lethal work. However, this line gets blurred as Bobby has fallen for Dixie, and his request that Maggie work with him on a bank robbery – hoping to make Dixie jealous – kicks off a series of events that threaten to destroy Maggie, her family and the entire crime organization.

It’s a good concept, and is helped enormously by Beretta, who was even more awesome in Hell Fire, even if her Australian accent requires some particularly convoluted explanations. Indeed, the story-line here in general is sometimes insanely complex, which explains why this runs 108 minutes: in some ways, I suspect less plot might well have been more successful here. Could certainly have done with less of the aspects which, particularly in the early going, occasionally make this feel like it’s a fetish tape for glove enthusiasts… Instead, writer-director-costar Brennan (who cast two of his own daughters in this, as well as it being produced by his wife Jean, keeping it a family affair) could perhaps have expanded on the single mother aspects, Maggie using her skills to deal with bitchy PTA rivals, recalcitrant teachers, etc., in a way similar to Serial Mom.

However, there are still a number of positives, not just Beretta. Most of the performances are solid, and the technical aspects are better than I was expecting – it’s often indistinguishable from a “real” movie. The comedic aspects work particularly well, in particular those surrounding the bank job. It involves both a vault which can only be opened by tap-dancing the combination, and also the impersonation of a German princess by someone who is neither a princess, nor can speak German. This kind of dry wit is endearing, and plays into the strengths of Beretta and the rest of the cast. The action is plentiful, though appears mostly constructed in the editing room rather than out of the participants’ obvious skills. It’s something of a shame the movie doesn’t build to the expected face-off between Maggie and Dixie, instead diverting into one of the subplots, this one involving an actress hired to play the part of Maggie, because… Well. I’m sure there was an explanation somewhere. Like much of the film, probably best not to sweat such details, instead just appreciating a strong lead and the quirky independence here.

Dir: Dan Brennan
Star: Selene Beretta, Dan Brennan, Katherine Barron, Dianna Brennan

Morgan

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Hannah goes Haywire.”

I watched this twice: once on an airplane flight from London, and once after I returned, and I think I preferred the second viewing. For the ending here, if not perhaps what you’d call a “twist”, does provide a piece of information about the lead character, that will change the way you watch her performance in subsequent viewings. It’s something I appreciate, and also goes a long way to explain what would otherwise potentially be flaws in the plot. Said character is Lee Weathers (Mara), a “risk-management consultant” for a tech company, who is sent to a remote outpost, literally buried in the heart of the countryside.

Its inhabitants have spent more than five years working on developing an artificial life-form; after multiple failed attempts, their current creation, Morgan (Taylor-Joy) had appeared to be doing better. Initially, crafted with talents such as accelerated growth, she (or, as Lee stresses, “it”) is now developing unexpected talents such as precognition. However, a violent streak is also making itself known, culminating in Morgan stabbing one of the researchers in the eye. This is where Weathers comes in, seeking to assess the viability of the project, as well as whether it should continue or not. And if not? Well, as the one-eyed researcher, played by Jennifer Jason Leigh, bluntly tells her, “You’re a goddamn assassin.” But Morgan’s creators won’t take that lying down; nor will Morgan her/itself.

Mara captures just the right degree of cold, passionless disinterest, and is helped out by a very solid supporting cast. This includes Leigh as well as Brian Cox, Paul Giamatti and even action heroine icon, Michelle Yeoh, albeit in a non-action role, playing the head of the project. After the opening scene, depicting the eye-stabbing from the POV of the complex’s security cameras, we already know everything is going to kick off, it’s just a matter of when. Given this, the first half could be considered too slow; we really don’t need to be introduced to everyone, because what matters is the Weathers-Morgan dynamic, perhaps with a side of the latter’s closest “relative”, Dr. Menser (Leslie, not without her own action cred, having played Ygritte in Game of Thrones – like GoT, this movie was filmed in Northern Ireland).

The arrival of Dr. Shapiro (Giamatti), the man in charge of carrying out Morgan’s psych evaluation, signals the start of this inevitable escalation of hostilities, and the pace certainly kicks up from that point forward. It’s this aspect which separates it in tone from the similarly-themed Splice, a more horror-oriented story, also about an artificial life-form gone awry. I note the stunt personnel here included Zara Phythian, a British action actress, whose star appears to be on the rise. Despite the loaded cast – it helps having Ridley Scott as a producer! – this was relatively cheap to make, at $8 million, and was somewhat unjustly overlooked on its cinema release. Even if it probably does take two viewings to appreciate it.

Dir: Luke Scott
Star: Kate Mara, Anya Taylor-Joy, Toby Jones, Rose Leslie

A Marine Story

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“Topples over from worthy into over-earnest.”

marineLet me start with the Amazon synopsis, since this explains what it’s doing here: “Dreya Weber stars as Alex, a decorated Marine officer who is unexpectedly discharged from her wartime duty. Returning to her conservative home town she agrees to coach and counsel the precocious teen rebel Saffron (Paris Pickard). Alex is the no-nonsense role model and authority figure that Saffron needs, and in true Karate Kid style she inspires the young woman s transition from slacker to boot camp-ready Marine recruit. But as Saffron is finally finding the strength to grow up, Alex must find new courage to face her own demons.” While not technically incorrect in any detail, it’s probably significant that it makes absolutely no mention of a very significant plot element, which impacts just about all other aspects of the story. Alex was kicked out of the Marines for being a lesbian.

While knowing that likely would not have impacted my selection of the film, I would have to say the heavy emphasis placed on it likely did detract from my enjoyment. Not, I should stress, for the gay angle. The issue would be exactly the same if the lead character had been heterosexual, and defined to an equal degree by her relationships, because that’s the kind of thing I expect from a soap-opera character, rather than an action heroine. It’s clear the topic of “Don’t ask, don’t tell” is a subject about which both director and star felt passionately, and it’s perhaps unfortunate (for the film, rather than those affected by it!) the policy was revoked by the US government shortly after the movie’s release, rendering it a lot of well-intentioned hand-wringing about not much, from a 2016 perspective.

The rest of this isn’t bad, although the ease with which Saffron is turned around by Alex is remarkable, suggesting that a stint in boot camp is just the cure all America’s disaffected youth requires. The synopsis does nail this as in “True Karate Kid style”, being roughly as plausible. But I do have to say, Weber completely nails the Marine thing, both in well-muscled physical appearance – and, perhaps more importantly, the attitude of quiet, coiled energy and absolutely confidence in her own abilities. Yet there’s also a streak of aggression, and some which is perfect for a soldier, yet less compatible with civilian life, and causes no shortage of issues, especially when combined with Alex’s tendency to react first. There’s likely enough meat there for a story, without having to add the sexual politics angle which, as noted above, has not dated particularly well, and to be honest, becomes moral overkill before the final credits roll – complete with another nugget of social justice. No, the topic isn’t the problem here: it’s the heavy-handed treatment.

Dir: Ned Farr
Star: Dreya Weber, Paris P. Pickard, Christine Mourad, Anthony Michael Jones

Miss Frontier Mail

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“Unquestionably dated, yet still a pioneer,”

frontiermailIt has now been more than eighty years since this was released. It’s important to bear this in mind, because what you have here, is very much a product of its time and place – 1936 and Bollywood, respectively. That said, it possesses a far feistier heroine than anything coming out of Hollywood at that point. Indeed, you’d probably have to wait over 35 years, until Pam Grier showed up in the seventies, to find someone comparable to the characters portrayed by an Australian actress, known in India as “Fearless Nadia”. There’s more info on Fearless Nadia elsewhere, and you might want to start there, since background is likely near-essential to appreciating her movies.

This entry has her playing Savita, the daughter of a station master who is accused of murdering his deputy, a crime actually carried out by a gang of railway robbers that have been terrorizing the area, under their anonymous master, “Signal X”. Savita seeks to clear her father’s name, initially with the help of an informant inside the gang, who had been helped by the station master. But even after Signal X kills the informant, she continues to investigate them, seeking to expose his identity. Turns out the plan is to destroy the railway network’s reputation on behalf of an airline company. This involves a terrorist campaign, including blowing up bridges and deliberately causing train crashes, and Savita is the only person who can stop him.

Let’s be clear. The fights here are awful. My daughter and her friend used to make little films in our garage when they were early teenagers. They had better brawls. It appears the sole guidance offered by the director was, “Okay, look like you’re fighting. Action!” The results resemble a drunken shoving match at a wedding more than anything. Still… For there’s one sequence where Nadia and the rest of the cast are doing it on top of a moving train, and you know it’s not doubles, green-screen or CGI. There, I don’t care what you’re doing, because I would be desperately clinging onto any relatively-fixed point. There might also be whimpering involved. This cheerful and complete disregard for personal safety, along with some of the slapstick elements, feels inspired by the silent works of Harold Lloyd, etc.

This is a real hodge-podge with no consistent tone. Action rubs shoulders with romance, and drama with juvenile comedy. There’s a reason one supporting character is listed in the credits as “champion banana eater”, and I didn’t even mention the entirely gratuitous sequence of Savita weightlifting. At 143 minutes, it’s likely a good half-hour too long; interesting to see, both in that and the shoehorning in of musical numbers, elements that remain common to many contemporary Bollywood films. Yet, once your modern eyes adapt a bit to the approach, it remains entertaining, and remarkably forward-thinking. Virtually the only competent member of Signal X’s gang, Gulab (Gulshan), is also a woman, and while Savita does have a romantic interest, it’s handled well; she’s clearly more than his equal.

You could well argue that portrayals of women in Indian cinema have significantly regressed since this. Although the action elements do leave something to be desired for 21st-century viewers, and it all looks rather naive nowadays, that doesn’t detract from being decades ahead of its time.

Dir: Homi Wadia
Star: “Fearless Nadia”, Sayani Atish, Sardar Mansur, Gulshan