Author: Jim McLennan

Lady Terminator

  By

★★★
“She came from the past, to destroy your future. Or something like that.”

Watching the unstoppable female killing machine in this 1988 Indonesian film might make Terminator 3 seem less original – except most of the concept here, as well as entire scenes and exact lines of dialogue, come directly from the original Terminator. There are admittedly twists, such as the incorporation of local folklore figure, the Queen of the South Seas. She gets miffed at her lover, and vows vengeance on his descendants. A century later, a scuba-diving anthropologist (who reminds us with lines like, “I’m not a lady, I’m an anthropologist”), gets possessed, and goes after a great-granddaughter (Rademaker).

However, it’s amazing how close 80% of this is, as said unstoppable female killing machine (Constable) runs amok, with no concern for collateral damage and apparently infinite ammo. Heroine defended by macho human (Hart)? Check. Assault on a cop station? Check? Impromptu eyeball surgery and “Come with me if you want to live”? Check x 2. Admittedly, Arnie never bit anyone’s dick off with his vagina, and most of the special effects here are primitive, to say the least. Hence, the rating above is a composite: fans of wacky, weird cinema will love it, those expecting sophistication or polish will hate it, and there’s not likely to be much middle ground.

Mondo Macabro’s DVD does full justice to the film, with a good-quality print, an amazing trailer (under its alternate title, Nasty Hunter) and background info including a fine 25-minute documentary on the region’s exploitation films. Having reviewed Indo-“classic”, Special Silencers in 1991, it’s nice to see the rest of the world catching up, and appreciating the delights – take that how you want – of Indonesian cinema. Though given recent events, the footage of huge waves crashing on the shore is perhaps the most horrific thing in the whole endeavour.

Dir: Jalil Jackson
Star: Barbara Anne Constable, Claudia Rademaker, Christopher J. Hart

Elektra

  By

★★½
“Sai It Ain’t So…”

True story. A friend of ours has a job as an intern in Los Angeles, and coming round the corner at work one day, he literally bumped into Jennifer Garner. He immediately started apologising profusely (he’s an uber-nice kid, who wouldn’t say “Boo!” to a fly) but she wouldn’t have any of it and began cursing him out in the nastiest of ways. Garner finally stalked off, while he continued to apologise – just before vanishing, she turned round and gave him the finger. So now we know: Jennifer Garner = bitch.

Despite this, it gives me no real pleasure to report on the failings of Elektra. It was a pleasant surprise, and says a fair bit about Daredevil, that the studio chose to pursue her character as a spinoff, rather than following up with a sequel. I hoped that they’d do a good job, capturing the dark passions and conflicts of the character, whose incarnation in works like Frank Miller’s Elektra: Assassin is truly memorable. [Interestingly, the screening was preceded by a trailer for another Miller adaptation, Sin City, which looks at least stylistically accurate] Unfortunately, what we have here is another shallow dumbing-down, offering little more than another straightforward good vs. evil battle.

The first issue is, of course, that Elektra died in Daredevil. No problem: we have a Yoda-like character, Stick (Terence Stamp), who can bring characters back from the grave. Yet this causes more problems than it solves: sure, Elektra’s back, but now, death, where is thy sting? Any threat to life is now no more inconvenient than in a video game: press X to continue. Anyway, after getting booted from Stick’s training camp in her second life, Elektra becomes a freelance assassin. However, when assigned to target a father (Visnjic, who remains miraculously just stubbly throughout) and his 13-year old daughter, Abigail (Prout), she suddenly has second thoughts.

This is kinda fortunate, since the pair turn out to be lynchpins in a battle between good (Stick and his allies) and evil. The latter are a group called The Hand, led by villain Roshi (veteran Cary Hiroyuki-Tagawa, from Mortal Kombat), who sends his son Kirigi (Lee) and his interesting-ability acolytes after Elektra and her wards. They can do stuff like make their tattooes come to life, kill things with a touch, or withstand shotgun blasts. Poor Elektra is just very, very good with weapons, which comes across as rather weak in comparison.

The aim is clearly to put Elektra across as an emotionally-scarred individual, who connects with Abigail, seeing herself in the teenager, and has enough baggage for an entire convention of shrinks. However, all we get in terms of her psychology are some clumsy flashbacks and a touch of pointless OCD which feels like it strayed in from Monk. Even after her agent (Colin Cunningham) both offers the trio shelter, then bravely stays behind to give them time to escape, his sacrifices don’t merit the slightest subsequent mention. Superheroes: they’re just so damn ungrateful.

There is entertainment, mostly lurking in the background. A moment with impact sees Typhoid (Natassia Malthe), the girl with the poison touch, kiss Elektra; the pair fall to the ground surrounded by a shower of dying leaves. It feels almost like it could have been inspired by the work of Zhang Yimou (House of Flying Daggers), and is at least less obviously stolen than the “House of Flying Bed-Sheets” battle later on. It’s also interesting to see Mark Houghton as a chief bodyguard in the opening scene: he made his debut against Yukari Oshima in The Outlaw Brothers, back in 1987.

The fight scenes are actually pretty good too, though the editing occasionally borders on the incoherent, and there just aren’t enough of them. What about Roshi? After sending out his son, he vanishes entirely from the picture, leaving the result disappointingly like a Bond film where 007 never gets to meet Blofeld, and is left dispatching minions instead. I guess they were perhaps hoping to save that confrontation for a sequel, but having just seen the first week’s box-office returns (Elektra took in several million dollars less than Catwoman), doesn’t look like that’s going to happen anytime soon.

 In terms of quality, this is probably about the same as the recent version of The Punisher, and that started from a lower point, the comics adapted there being basically a hyperviolent revenge fantasy for teenage boys. Frank Miller’s work on Elektra was truly for mature readers – in both the sense that its intricacies require a sophisticated mind to unpick, and the intense nature of its images. Instead, we get this PG-13 rated Elektra, that simply rolls out the usual comic-book cliches without sufficient enthusiasm or invention. It’s polished until the surface positively gleams, but is just a thin layer of precious gold, over a heart of basest metal.

We should have guessed: January is a bad time to release an action movie, and Garner’s absence from publicity (allegedly due to a viral infection or “nerve damage” – though that’s actually what our intern friend suffered at her hands) was another warning-sign. So was the fact Daredevil wasn’t that good. Regardless, it doesn’t bode well for a year where adaptations of comic-books come thick and fast, with February’s Constantine next. And after the failure of Catwoman, it unfortunately seems to be strike two for big-budget action heroines.

Dir: Rob Bowman
Stars: Jennifer Garner, Will Yun Lee, Kirsten Prout, Goran Visnjic

Black Mama, White Mama

  By

★★
“A P-movie: Prison, Philippines and Pam Grier.”

The biggest shock this has to offer is likely the opening credit, “based on an original story by Joseph Viola and…Jonathan Demme“. Yep, future-Oscar winner Demme, director of Silence of the Lambs, came up with this story, though if truth be told, it’s largely a ripoff of The Defiant Ones, which also had a black/white pair of prisoners escaping jail chained to each other. Here, it’s moved to the Philippines, where revolutionary Karen (Markov) and drug-lord moll Lee (Grier) are both wanted by their respective parties, albeit for entirely different reasons: Karen to help broker an arms deal, Lee because she stole forty grand. While being transported to the city, the two break free and head off across country, encountering nuns, drunk drivers, lecherous handymen and dogs – dressed in skimpy prison tunics, naturally…

Actually, if they’d stuck to this unwilling pair and their bickering, that gradually turns from animosity into mutual respect, the film would likely have been a damn sight better. You can see why Grier became a star, and Markov’s screen presence is almost equally obvious. However, the film instead diverts its energy into subplots involving the rebels or Ruben (Haig), a local slimeball who agrees to track the escapees. Both subplots seem more like excuses for bad T&A, largely involving ugly Phillippino actresses. Ditto the lengthy shower scene near the beginning – while our heroines are still in jail – though it shows the prison staff are equally as sexually frustrated as the inmates. Of course, it ends in a massive gunfight on a dock, between all interested parties. It’s cheap, campy and passes the time, albeit only just.

Dir: Eddie Romero
Star: Pam Grier, Margaret Markov, Sid Haig, Lynn Borden

Women’s Extreme Wrestling

  By

★
“Horrible. Makes you yearn for the subtlety and wit of GLOOW.”

In my collection, I have DVDs from six different American wrestling federations, plus others from Japan. This is, by far, the most tedious and badly-put together. There isn’t an aspect here that even reaches bearable: the wrestlers are almost without exception incompetent, the announcers are juvenile jerks, and the presentation is truly dreadful. Shot at WEW’s first two pay-per-views at Viking Hall, Philadelphia on February 22nd and April 6th, 2002, it is frankly a mystery how the company didn’t immediately fold. But rising from the remnants of GLOOW, it uses some of the same “talent” plus porn stars, and still seems to be offering its X-rated mix of sex and violence – though this DVD entirely lacks the nudity promised by the commentators, which has presumably been edited out. Really, all the naked female flesh in North America wouldn’t have helped this – the only thing that’s “extreme” is some bad language, and while I could be wrong, personally, there’s more to being extreme than a potty-mouth.

The number of blown spots and flubbed moves here is almost uncountable, and the live audience seemed severely unimpressed: applause was sporadic and outnumbered by chants of “You Fucked Up!”, a nostalgic throwback to ECW days that brought a smile to my face. But I digress. GI Ho, Laree and Weed have some skills. As for the rest, I think every single woman at our local federation, IZW, could use them to mop the floor. Time is short, so let us gloss rapidly over the two commentators, who have the combined mentality of a single 13-year old, and finish on the incoherent presentation. For example, a tables match manages to edit out the actual breaking of the tables entirely; disc four contains repeats of half the disc one matches; and you don’t even get to see who won the final bout, since the DVD ends in the middle of it! The 4-disc set may run 210 minutes, and seem good value for money, but don’t be fooled. Setting ten bucks on fire and ramming it down your own throat would be more entertaining.

Star: Alexis Laree, Amanda Storm, Tai ‘Killer Weed’, Psycho Bitch

Female Suicide Bombers

  By

★★★
“A shallow look at a very complex subject.”

This photograph shows 18-year-old Ayat Ahkras from the Dheisheh refugee camp on the outskirts of the West Bank town of Bethlehem. Ahkras killed herself, two others and injured about 20 people when she detonated her explosives outside a Jerusalem supermarket in March 2002.

Female suicide bombers might perhaps not fit into the generally-perceived definition of “action heroine”, but they have much the same quality of transgressive behaviour – women acting in ways outwith the norm. And, of course, heroism depends on your point of view; one thing this documentary does, is show the cult on the West Bank that surrounds their martyrs. The thin line between “terrorists” and “freedom fighters” is illustrated perfectly by the scene of small children carrying posters of suicide bombers. On the other hand, most of the program skims irritatingly across the surface, not least because host Lisa Ling is a puffcake journalist, uninterested in asking – or perhaps, too scared to ask – the hard questions. Her interview with the mother of Wafa Idris, the first West Bank female martyr, is a masterpiece of shallowness; she doesn’t even bother to follow-up on the answers, let alone challenge the assertions.

Even more annoying is its desire to cram the motivations for all female suicide bombers into the same hypothesis: abused or brainwashed women, who have broken the laws of society, and in particular, religion, so find suicide the only way out. They dig through the histories, looking for evidence to justify their theory: oh, Wafa was infertile and divorced, that must have been it. But this hardly even counts as an explanation: how many women get divorced without committing suicide? It’s actually fairly patronising, the clear implication being that women are incapable of consciously sacrificing their lives for a political or social cause. I think Joan of Arc, Emily Davison (the suffragette who threw herself under the King’s horse at the 1913 Epsom Derby) and Violette Szabo might care to argue with that conclusion.

The film also concentrates the great majority of its efforts on Palestinian bombers; the Tamil Tigers merit only a brief mention, even though they have been using female martyrs for far longer, to a greater extent (almost 40% of their suicide bombers are women) and with greater impact, including the assassination of former Indian Prime Minister Rajiv Ghandi in 1991 – unmentioned by the program, despite it supporting their theory, is the fact that his killer had been raped by Indian soldiers. On the other hand, the Tamil struggle is secular rather than religious, making it hard to apply the same hypothesis of guilt-stricken women opting to go out with a bang. However, I do give the program credit for piqueing my interest in the topic; expect a full article sometime in 2005… [Said article has been delayed indefinitely, as I couldn’t get a good handle on how to approach the topic. I made a lot of notes, then basically gave up. Will maybe dig them out sometime…]

National Geographic Channel documentary, December 2004

Sky High

  By

★★★★
“Life’s a bitch, then you die…then life’s a bitch again.”

Combining elements from Dead Like Me and Ghost, this still manages to come up with something unique, especially given its origins as a prequel to a popular TV series. It is designed to explain how Mina (Shaku) got the job as Keeper of the Gate, where murder victims must decide whether to forgo revenge and pass on, return to Earth as a ghost, or seek vengeance at the price of eternal torment. She ends up there after having her heart torn out on her wedding day by insane billionaire serial killer Kudo (Osawa) who will stop at nothing to save his one true love, currently lying in a coma. Trust me – it all makes perfect sense, and it’s a particularly nice touch that Mina’s fiance, Detective Kohei (Shosuke) is equally driven in his actions by love.

What’s of particular note is the continuous parade of strong female characters. As well as Mina, who starts off cowed and shy, but ends up wielding a sword with enthusiasm in her new role, there’s the existing Keeper (Eihi Shiina, the piano-wire wielder in Audition); Kudo’s secretary-come-hit woman (Uotani Kanae), who kills for him so that his soul remains pure; and medium Shuho Kamiina (Yumi Kikuchi), Keeper in a former life, who remembered her previous existence and retained the fighting skills. Any one of these would make the film worth watching; put them all together, and it’s a shame the film is only two hours long.

The resulting swordfights are longer on style than substance, with much posing before and during the battles, while the plot does rely too much on convenient coincidence, such as the photographer who just happens to be able to take ghost snapshots. It also seems that every other person has been a Keeper in a previous life. However, the longer the film goes on, the more engrossed you get in the characters, and the ending is genuinely quite touching. I really doubt the TV series could live up to this, but I’d certainly be prepared to give it a shot.

Dir: Ryuhei Kitamura + Norio Tsuruta
Star: Yumiko Shaku, Shoshuke Tanihara, Takao Osawa, Toda Naho

Crimson Bat: Wanted, Dead or Alive

  By

★★★½

Director Ichimura returned for the fourth episode, and despite similar problems as the third installment – most obviously, an apparent doubt that Oichi’s character can hold the viewer’s interest by herself – makes a much better stab at things here. Bounty-hunter Oichi finds out what life is like on the other side of the law, after she helps rescue an unwilling bride from a local magistrate; he slaps a 100 gold-piece reward on her head, which naturally, brings other bounty-hunters on her trail, led by Sankuro (Meguro).

She ends up in a fishing village, where the “evil property developer” subplot makes a surprising appearance, despite the historical era. The reconstruction of the harbour threatens to put the locals out of work, but a plot is afoot among the local authorities to pay them only one gold piece each in compensation, rather than the 15 gold pieces actually provided by the federal government. Residents, officials, bounty-hunters and Oichi all inevitably collide, including one character played by Tetsuro Tamba, who remains even now one of the most respected (and prolific – the IMDB lists 193 films for him!) actors in Japanese cinema.

There’s a lot of devious double-crossing and deception here, which is okay to watch, but isn’t really the reason we watch these things. And that it also turns out to be Sankuro’s birthplace is too much of a fluke to swallow. Fortunately, it all builds nicely to an extended finale, where our heroine (now also framed for the murder of a village elder) gets a chance to take out her aggression and resentment on all those who have turned her life into that of a hunted animal. It’s a great urban battle, through the town which is being demolished around her, in and out of buildings until she finally confronts the chief villain of the piece.

Though this was the last entry in the series, there isn’t much sense of closure at the end, with (and I trust I’m not really spoiling this for anyone) Oichi merely walking off into the sunset, alone again, naturally. One senses Shochiku were hoping to continue, but for whatever reason – most likely box-office success, or rather, the lack thereof – it never materialised. However, for a series from the 60’s, it was undeniably ahead of its time, and most of the films have survived the passage of three and a half decades in an impressive style. If any enterprising DVD company were to snap them up, the rewards would likely be significant.

Dir: Hirokazu Ichimura
Stars: Yoko Matsuyama, Yuki Meguro, Tetsuro Tanaba, Reiko Oshida
a.k.a. Mekura No Oichi Monogatari: Inochi Moraimasu

Watch Out, Crimson Bat!

  By

★★

The third entry in the series saw a new director, and unfortunately, a marked turn for the worse, largely because the focus drifts off Oichi. It starts briskly enough, with the heroine coming into possession of a new, effective formula for gunpowder, something barely known at the time in Japan. Understandably, this makes her the focus of attention, in particular for a group with an interest in profiting from the discovery.

I have a number of qualms with the storyline here, not least the concept that “weapons of mass destruction” (as gunpowder was, when compared to the arrows and swords prevalent during this era) are safe in any hands. Moral doubts aside, the main flaw is the introduction of characters such as Gennosuke (Ibuku) and, worse still, an immensely irritating pair of teenage orphans. Together, they succeed in making Oichi feel like a supporting character in her own movie, and she is almost entirely absent from action in the middle portion.

By the time she rides to the rescue…yes, I said “rides”, her previously unmentioned equestrian skills being hand-waved away with “the horse knows where it’s going”…the film is pretty much dead in the water. The final battle does mark another step up in scale, with Matsuyama’s skills again clearly improved, and the quantity of enemies dispatched again setting a high-water mark, even if Gennosuke gets to take out almost as many as Oichi, and the way in which the villainous henchman suddenly switches sides is laughable. In marked contrast to its two predecessors, this does have a proper ending, tying up the loose threads in a satisfying, if conventional, way. It isn’t enough to rescue the day, with interest having succumbed at a disturbingly early point.

In its incarnation as Samurai Woman (left), I believe this was the only installment to see a release in the UK. When first seen, over a decade ago, it was unimpressive, and it remains weak, particularly when viewed from an action heroine perspective. But even in general terms, it’s a poor piece of cinematic storytelling.

Dir: Hirokazu Ichimura
Stars: Yoko Matsuyama, Goro Ibuki, Kiyoko Inoue, Asahi Kurizuka
a.k.a. Mekura No Oichi Monogatari: Midare Gasa

Trapped, the Crimson Bat

  By

★★★★

Later that same year (1969), Oichi was back in action, and at the start of Trapped, seems quite content with her life as a bounty-huntress. She has even adopted an orphan, just as she herself was taken in herself, but two things wreck this relatively happy situation. She discovers her protege is really a runaway, not an orphan, and consequently has to abandon her – again, as she was discarded. Worse yet, she incurs the wrath of fellow bounty-huntress Oen (Matsuoka), a kitten with a whip and pockets full of venomous snakes, who leaves Oichi for dead. Luckily, she is nursed back to health by Matsuka (Irikawa), a farmer who doesn’t care about her shady past, and Oichi discovers the joys of a simpler existence – specifically, one not involving the slaughter of criminals for cash. Of course, the inevitable eventually happens: local thug Bunzo (Abe) starts taking the locals’ rice stocks, with Oen closely in tow. No prizes for guessing that the quiet life isn’t going to last long, especially after Matsuka is manipulated by Oen into owing a gambling debt to Bunzo.

This is a fine movie, with Matusoka in particular a grand foil for the heroine, her hair covering one half of her face like a veil, and the other half usually displaying a near-psychotic expression. Oichi’s struggles to leave her past behind feel almost like Shakespearean tragedy, and the final shots of the film, while a sudden way to end, hint strongly at an endless, futile struggle. To paraphrase George Orwell, if you want a picture of the future, imagine a Samurai sword slicing up an opponent…forever. Downbeat? Hell, yes. Wouldn’t have it any other way.

The action is decent too, with Matsuyama definitely operating a step above her first outing; although these aren’t usually so much fights, more the swift dispatch of one or more opponents, that’s par for the chambara genre. Matsuka is somewhat of an enigma as a character – it’s hard to see why Oichi falls for him, and the whole “orphan” plotline is not well handled. In particular, it’s lacking any kind of background, to the extent it feels like an entire film was missing. The rest of the story though, is well-crafted and packs a solid wallop; you could certainly argue that this is the best flight of the Crimson Bat.

Dir: Matsuda Teiki
Stars: Yoko Matsuyama, Yasunori Irikawa, Kikko Matsuoka, Toru Abe
a.k.a. Mekura No Oichi Monogatari: Jigoku Hada

Crimson Bat, The Blind Swordswoman

  By

★★★

We meet our heroine Oichi as a young child, who has just been being abandoned by her mother – not sure what happened to father, but we later discover Mom’s a prostitute, so can probably fill in the blanks ourselves. To make matters worse, the tree under which Oichi takes shelter from a storm is struck by lightning, rendering her totally blind, in a way that’s – probably wisely – left medically unexplained. However, she is then taken in by a kind gentleman, who brings her up, and on into adulthood.

She’s no luckier with her foster parent, who is murdered by a former associate, Devil Denzou (Amatsu); she is saved from the same fate by a wandering samurai. He sees her potential and trains her in the way of the sword, to the point where she has surpassed him. But she mentions the M-word – “marriage” – and he, too, exits like a, er, bat out of hell. On subsequent travels, she uses her skills to save yet another man from being lynched, and eventually, all these disparate plot threads join up, more or less. Though others, such as the woman with a killer yo-yo [GoGo Yubari’s ancestor?] just kinda drift out of the plot.

The film is at its best when there is the threat of violence; much like Sergio Leone, the lead-up lasts much longer than the actual acts, with the director ratcheting up the tension. For example, there’s one scene where Oichi visits a gambling parlour to raise money, and from the moment she sits down, you know it’s just a matter of time before her sword comes out of its red sheath (which presumably is the origin of her name – that, and the copious blood that tends to get sprayed when she’s around). There’s also a nice visual sense at work throughout here, particularly in lighting, which enhances proceedings nicely.

And, being honest, the actual drama needs all the help it can get, since it seems limp in comparison, though allowance should likely be made for the dubbing. That, however, can’t explain the bouncing back and forth in time, which may induce temporal nausea in susceptible viewers; it feels as if the finished film got tossed in the air and is shown in the order it hit the ground. And while there’s a decent “ah-hah!” when everything ties up, this isn’t enough to justify the lengthy set-up. Fewer plot threads, explored in depth, would be a major improvement.

Dir: Matsuda Teiki
Star: Yoko Matsuyama, Isamu Nagato, Jun Tatara, Satoshi Amatsu
a.k.a. Mekura No Oichi Monogatari: Makkana Nagaredoni