Tag: history

Lady Detective Shadow

  By

★★★
“CSI: Shacheng”

The heroine of this period piece us Sima Feiyan (Shang), a roaming law officer, currently in the process of tracking down a gang of four criminals. She successfully nails three in the opening sequence, and tracks the fourth to the city of Shacheng. There, she meets up with old friend Wu Jing Ping (Qi) and his son, Jingbin (Zhang R.B.). She gets diverted by the case of a missing person, which takes to a nearby inn, where a host of suspicious figures are gathering. Turns out, there’s a lost city reported to be accessible only once every 49 years, and treasure hunters are gathering for the chase. Unsurprisingly, this ends up being connected to the missing person, the criminal she seeks and even the Wu family.

While more or less shamelessly lifting elements from sources as diverse as Sherlock Holmes, Dragon Inn and Indiana Jones, as well as the TV show noted above, this Chinese TV movie does so with enough energy and invention of its own to make for an entertaining time. Sima is rather like the great detective, though this “Sherlock” is rather more pugilistic than Conan Doyle’s version – or even Robert Downey’s! She is able to look at a scene and “see” in her mind how things rolled out – hence the CSI comparison – and is accompanied by a plucky (but less talented) sidekick, Ye Zi (Zhang P.Y), basically the Watson to her Holmes. There’s no shortage of action, save perhaps at the end, which was a bit disappointing. Much running around a trap-laden underground complex (coughTempleOfDoomcough!), but not the grandstand climax I wanted.

Up until then, however, it has been genuinely a good bit of fun. It takes a little bit of a while for the story to settle down, yet when it does, it’s a genre mash-up that provides decent value, despite the occasionally ropey bit of green-screen work. Shang has just the right approach to the role. She portrays Sima as possessing a calm demeanour, even when provoked, and as someone takes her job seriously; that makes the viewer take events seriously as well. It’s Ye Zi who generally provides the film’s lighter moments, and gets shunted off to one side for the climax. The action is not bad. It does suffer a little from the hyper-kinetic editing, yet is still capable of being followed. There’s enough invention that the viewer should be willing to cut it some slack, and there certainly no shortage, which helps.

It feels like the pilot episode for a TV series, and does a solid job of establishing the general situation and the characters. This kind of “historical crime investigator” seems to be a mini-trend in the Far East, with franchises such as Detective Dee in China, or the Korean Detective K. This is the first I’ve seen which goes with a woman, and while not perfect, it’s sprightly enough that I’d certainly be interested in seeing more of its heroine.

Dir: Si Shu-bu
Star: Shang Rong, Zhang Pei Yu, Qi Jingbin, Zhang Ren Bo

The Huntress: Rune of the Dead

  By

★★
“Can’t see the wood for the trees. SO. Many. Trees…”

In 9th-century Scandinavia, teenage girl Runa (Stefansdotter) lives deep in the woods, with her mother, Magnhild (Idah), blind grandfather Ragnvald (Beck) and younger sister Bothild (Lyngbrant). Father Joar is notable by his absence, having gone off on a Viking raid to seek fortune for the family, and is now well overdue. However, he did at least train Runa to be a markswoman with the bow. Problems start when she finds a wounded warrior, Torulf, lying in the forest, and brings him back to their cabin, much against Magnhild’s wishes.

Torulf turns out to be a colleague of Joar’s, who tells a tale of the raiders looting a burial site – only to find vengeance coming out of the grave after them. He and Joar are the only two survivors. And when Joar returns shortly afterward, his arrival puts the whole group in peril, because of what’s inexorably following him. It’s only really at this point – two-thirds of the way in – that the film remotely begins to entertain. Up until this point, there has been a lot of sitting around the woods, and the director appears never to have heard of the maxim “Show, don’t tell.” Witness Torulf’s lengthy and frankly, boring, description of the situation, which would fit better into a Nordic saga recital than any cinematic retelling.

If the makers had gone for a siege type of film from the beginning, with the family barricaded in their cabin, and trying to fend off an unstoppable horde of barrow wights, this might have worked. It’s what I was expecting going in, and what I was waiting to see. And waiting. And waiting, while slow-moving coming of age family drama unfolded instead. I actually liked Stefansdotter in the lead role. Indeed, most of the performances are solid enough, and the same goes for the technical aspects. There was clearly some effort put in – the score, for example, is nicely done – and the forest provides a lushly appropriate backdrop against which any number of entertaining things might have unfolded. In a different, more interesting movie, anyway.

We finally do get the hand-to-hand (and hand-to-bow) battles for which we have been waiting. But only after a point by which the end credits would already be rolling on better-paced features. Even there, it is a bit on the dark side – though after my issues with Immortal Wars, the bar of what qualifies as “a bit on the dark side” has been raised considerably. This is nowhere near as bad, and you still can tell what’s going on, with a bit of peering. There’s a rough energy here which works, although the main impact is to make you wonder where the hell it has been for the rest of the movie. The makers should have sat down to watch the not-dissimilar Flukt, and built on what worked there, such as its steady flow of tension, instead of offering us 90 minutes of meandering around the woods.

Dir: Rasmus Tirzitis
Star: Moa Enqvist Stefansdotter, Yohanna Idha, Viva Östervall Lyngbrant, Ralf Beck

The Nightingale

  By

★★★
“Pack your bags, we’re going on a guilt trip!”

History is largely filled with people being unpleasant to each other, usually for belonging to a different race, religion, nationality or even species [if you want to go back to the Cro-Magnons pushing out the Neanderthals about 40,000 years ago]. It’s sad and unfortunate, but it’s not something for which I feel personal responsibility – not least because it tends to work in both directions. My ancestors may have been part of the British Empire who, for example, invented the concentration camp in the Boer War. But my ancestors were also subject to the ethnic cleansing of the Highland Clearances, forced out to make way for sheep. Attempts to make me feel guilty for the sins of my forefathers are thus largely doomed to fail.

And what we have here, is a well-crafted exercise in manipulation. It’s set in what is now Tasmania, then a penal colony where the British garrison were trying to maintain control, both of the prisoners and the indigenous population, using savage brutality against both. One of the former is Clare Carroll (Franciosi), an Irish woman convicted of theft who is now married to another prisoner and working in an army garrison. She is at the mercy of Lieutenant Hawkins (Claflin), who wields a letter of recommendation, which would give Clare and her family freedom, as power over her. Circumstances escalate to a night where she is raped and left for dead, while her husband and infant child are murdered. Hawkins leaves for the capital of Launceston, in pursuit of a promotion. Clare follows, intent on revenge, helped on the trail by Billy (Ganambarr), an Aboriginal tracker, who has also borne the brunt of colonial savagery in his past.

It’s effective, in the same way that a 2×4 across the head will get your attention. It’s not exactly subtle in the parallels being drawn between Clare and Billy, who have both suffered at the hands of the evil Brits, and who subsequently bond over their victimhood. Hawkins is such an evil swine, he might as well spend the entire film twirling his mustache. But despite being such an obvious attempt at generating outrage, it’s not without its merits. Franciosi delivers a fierce and intense performance, as someone who has lost everything, and so is prepared to go to any lengths to take revenge on those who destroyed her life.

Perhaps the most chilling sequence has her hunting down a soldier, already wounded in an encounter with the local population (which seems to have strayed in from an 80’s Italian cannibal film!). The savage way in which she takes him down and then beats his head to a pulp with her rifle-butt… Yeah, she is clearly highly motivated. However, the simplistic way in which white men are, almost without exception, portrayed as stereotypical villains undoes much of the good work put in by the actors, and dampens its overall effectiveness.

Dir: Jennifer Kent
Star: Aisling Franciosi, Baykali Ganambarr, Sam Claflin, Damon Herriman

Viking Destiny

  By

★★★
“Low-rent vikings”

The success of Vikings has spawned its fair share of similarly set films, and this isn’t the first such to stray into our purview, following Viking Siege. As there, it’s clear that the budget isn’t anywhere near its television inspiration. As a result, these films have to work harder in other areas, to make up for what they can’t offer in spectacle. Siege did this by mostly taking place in a single location. Destiny tries (and fails) to be at least occasionally epic, but benefits by having a genuine action heroine, front and centre. Not quite Lagertha, perhaps, yet close enough to be a pleasant surprise.

It’s Helle (Demetriou), who was the daughter of King Asmund of Volsung, swapped out for a male child, due to heir-related reasons. However, her replacement has grown up neither interested in, nor suitable for, leadership, while Helle has turned into a bit of a bad-ass. After Asmund’s death, his brother Bard (Nieminen) tries to take the throne, framing Helle for the murder of the official heir. She manages to escape, and with a little guidance from Odin (Stamp, who must have needed a house car TV payment or something), prepares to claim her rightful place on the throne of Volsung. Meanwhile, Bard has some divine guidance of his own, in the shape of Loki (McArthur).

The paucity of resources available is most painfully apparent during the final battle for the kingdom, which clearly has little more than a football team (plus substitutes) taking part on each side. Unless Volsung is smaller than San Marino, they shouldn’t have bothered. Considerably more successful are the one-on-one fights, such as Helle’s battle against one of a pair of hulking giant killers (note, no hyphen!), both played effectively by 6’8″ body-builder Martyn Ford. Demetriou has a fast, athletic style in combat, which is a nice contrast to the brute strength used by her far larger opponent. Generally, though, she looks and acts her part very well: as mentioned, maybe Lagertha Lite, yet a worthy shield-maiden, none the less.

The supporting cast may err on the side of panto, Nieminen and McArthur in particular, yet this doesn’t feel particularly inappropriate, given their villainous nature. Rather less interesting are the low-rent hippies with whom Helle joins up in her wandering through the woods. They show up to spout pacifist philosophy and drink fermented turnip juice (!), before mysteriously acquiring weapons and the skill to use them – just in time to slaughter and be slaughtered in the final battle. Pacifism: it’s vastly over-rated…

But when it sticks to the smaller scale, and its heroine in particular, this is by no means terrible, providing your expectations are similarly restrained. In some ways, it seems like a throwback to similar British sword and sorcery flicks of the early eighties. from polished entries like Excalibur, down to the cheap ‘n’ cheerful (yet not necessarily less fun) end represented by Hawk the Slayer. That’s not entirely a bad thing, in my humble opinion.

Dir: David L.G. Hughes
Star: Anna Demetriou, Timo Nieminen, Murray McArthur, Terence Stamp
a.k.a. Of Gods and Warriors

The Aeronauts

  By

★★★
“Full of hot air.”

I was genuinely stoked when I got to the end of this one, which details the derring-do of 19th-century pioneers James Glaisher (Redmayne) and Amelia Wren (Jones). The former is a scientist in the fledgling field of meteorology, who wants to obtain data from the upper atmosphere. The latter is a balloon pilot, carrying on despite the death of her husband on a previous flight. Together, they team up, to fly higher than any person had ever gone before. Indeed, further than even they wanted to go, as a frozen valve prevents them from descending when they need to do so. With Glaisher out of commission through oxygen deprivation, it’s up to Wren to climb, by herself, up the outside of the balloon, in order to reach the top and clear the valve.

The in-flight entertainment is excellent, right from the take-off, in front of a sizable crowd of onlookers, to whom Wren is delighted to play. But as they rise up, you do get a real sense of the appeal of flight, in a way which feels almost like a Hayao Miyazaki film. That matters, having gone into this wondering why someone would willingly dangle from a wicker basket, below what is effectively a large bomb (here, lifted by inflammable coal gas). But the beauty of the air is well-captured, as well as its immense scale, with any number of shots depicting the giant balloon reduced to little more than a speck, beside the massive clouds. And Wren’s solo ascent is the stuff of heroic legend.

But that’s also the problem. For she never existed. Oh, Glaisher did. And so did his flight, in 1862. It set an altitude record for any craft of 36,000 feet, which would endure for more than sixty years. And after Glaisher lost consciousness, his companion did end up needing to pull the release valve by mouth, having lost all feeling in his limbs. Yeah: his. Because it was professional balloonist Henry Coxwell who was the hero in fact. Now, I get that cinema will play fast and loose with facts. But swapping out a real person for a fictional one of the opposite gender? Really? There weren’t any actual aeronautical heroines about whom a film could be made? Oh, hang on: there were. Most obviously, Sophie Blanchard, a Frenchwoman on whom the character of Wren was partially-based, and who was Napoleon’s head of aeronautics. A future feature on her may beckon.

The more grounded stuff in the film also doesn’t work as well. There’s a narrative conceit which holds back information about the circumstances surrounding Mr. Wren’s death. And background stuff on Glaisher’s struggles to raise funds for his expedition into the sky, as well as his relationship with his father (Courtenay), don’t add much to proceedings. I’d have been happier with a real-time recounting, purely focused on the flight up and down. The contrast between the staid Glaisher and show-womanship of Wren, offers enough fuel to keep things going, until the latter’s perilous ascent is needed. Just don’t ask why neither of them thought to pack a pair of gloves.

Dir: Tom Harper
Star: Felicity Jones, Eddie Redmayne, Himesh Patel, Tom Courtenay

The Dawns Here Are Quiet

  By

★★★½
“Can’t see the forest for the Nazis”

It’s the summer of 1942, and Soviet forces are facing the invading German Army. After Sergeant Major Vaskov (Martynov) requests soldiers for his anti-aircraft battalion who won’t get drunk and molest the local women, he gets what he wants. Except, the new arrivals are an all-female squad of soldiers, with whom Vaskov is initially singularly ill-equipped to deal. However, they prove their mettle, led by the efforts of Rita Osyanina (Shevchuk), and eventually win Vaskov’s respect. While returning to the barracks one night, Rita stumbles across two Nazi paratroopers; she, along with four colleagues and Vaskov, form a search party, and head deep into the surrounding forest to capture the Germans. However, they discover the real force is significantly bigger, and must begin a guerilla warfare campaign to disrupt the enemy’s mission, harrying them through the wooded and marshy terrain.

In contrast to larger epics, it’s a very small-scale, up close and personal approach to the war, taking place well away from the front lines. Released in two parts (though at 188 minutes, it’s less then twenty longer than Saving Private Ryan), the first section takes place at the anti-aircraft emplacement. The action there is mostly far overhead, and in the early going, it is a little tough to separate the rush of similar-looking women to whom we are suddenly introduced. Though I did like the stylistic approach of having the war take place in harsh black and white, while the soldiers in more peaceful times are depicted in colour, with an almost dreamlike version of reality.

When we get to the meat of the story, the film improves significantly. It’s fairly standard “small group taking on a larger force” stuff, a topic which has been mined frequently for war movies, from Zulu and The Alamo through Ryan to 300.  Yet it’s still effective to follow Vaskov and his handful of untested soldiers, as they go into battle with far more experienced warriors. Quite deliberately, the enemy are kept almost faceless, given no humanity at all: their speech is left unsubtitled, for instance. As the losses mount inexorably, there’s a genuine impact to them, and you’re left with an up-close and personal look at war and the human cost it has. Yet at the end, a radio broadcast casually dismisses the preceding three hours of heroic sacrifice with, “During the day of June 3rd, no major engagement took place on the front. However, some minor local fighting occurred in certain sectors.”

Based on Boris Vasilyev’s 1969 short novel of the same name, there was also a 2015 mini-series for Russian television (a review of that is coming soon); a Tamil-language Indian film (Peranmai); a Chinese TV series; and more unusually, the story was turned into not one but two operas, one in Russia and the other in China. However, this version was nominated for the Best Foreign Film Oscar, where it lost out to Luis Buñuel’s The Discreet Charm of the Bourgeoisie. No death before dishonour there. 

Dir:  Stanislav Rostotsky
Star: Andrey Martynov, Irina Shevchuk, Yelena Drapeko, Yekaterina Markova

Viking Siege

  By

★★★
“Tree’s company…”

This has the potential to be truly bad, and you need to be willing to look past ropey production values, a possibly deliberately shaky grasp of period (unless “Daisy” really was a popular girls’ name in early medieval times…) and uncertainty as to whether or not this is intended to be a comedy. Yet, I have to admire its “everything including the kitchen sink” approach: throwing together elements from genres as disparate as Vikings, zombies, aliens, sword ‘n’ sorcery and female vengeance shows… well, ambition, at the very least.

The story starts with a group of women, led by Atheled (McTernan), infiltrating a priory. They seek revenge on the monks, because of a sideline in human trafficking which has cost the women dearly. Their plan for vengeance is somewhat derailed by a local lord turning up, and entirely derailed by the arrival of a horde of Vikings, in turn hotly pursued by what can only be described as demonic shrubbery – not for nothing are they referred to and credited as “tree bastards.” To survive through the night is going to take an unholy alliance between the various parties, as well as some captives in the basement – fortunately, those include someone who can speak Viking (McNab). Given their radically different goals, this will present problems of its own.

Wisely, for budgetary reasons, action is largely constrained to the main hall of the priory, with occasional forays outside. This set-up is very Night of the Living Dead, and the tree bastards are also infectious, albeit not quite in the traditional zombie sense. However, it’s in the creatures that the film’s limited resources are most painfully obvious, with them being little more than obviously blokes in masks. Although the boss shrub does occasionally look impressive, when shot from the right angle, it feels a bit much, and is a case where less might well have been more. Just make them nameless berserkers, you’d have much the same impact and save yourself a lot of time, money and effort.

The chief saving grace are the performances. McTernan has the inner steel to go with her crossbow bolts; her colleagues, Seren (Hoult) and Rosalind (Schnitzler) in particular, are very easy to root for; and the nameless translator has perhaps the most interesting character. It’s these that kept me watching, such as in the atmospheric scene when the backstory of the tree bastards is explained. Though told rather than shown, it’s delivered with enough energy to prove more effective than some other elements (martial arts? gunpowder?), which had me sighing in irritation.

To be perfectly clear, it’s a case where you need to go in with your expectations suitably managed, i.e. keep ’em on the low-down. Based on the blandly generic DVD sleeve and title, I probably wouldn’t have even bothered, and certainly would not have expected any action heroines. As such, this was a pleasant surprise, and it kept me more entertained than I feared it might. My advice is, treat it as a loving tribute to a whole slew of B-movie genres, no more and no less.

Dir: Jack Burton
Star: Michelle McTernan, Rosanna Hoult, Samantha Schnitzler, Adam McNab

The Stolen

  By

★★
“98 minutes robbed from my life.”

Rarely has such promise been so spectacularly and vigorously squandered. For this starts well enough. In 19th century New Zealand, English ex-pat Charlotte (Eve) is settling into a new life with her husband and newborn child. This is upturned when a midnight raid leaves her husband dead and the baby kidnapped. Months later, after everyone else has moved on, she gets a ransom demand in the mail, and she tracks its source to Goldtown. This remote outpost is truly an Antipodean version of the Wild West, a rough-edged mining town run by Joshua McCullen (Davenport). Braving all manner of threats – not least, that the only other women there are prostitutes – Charlotte makes the perilous journey to the frontier settlement in search of her son.

So far, so good. The landscapes and photography on the way there are gorgeous, yet threatening, and Charlotte is built up nicely, possessing a strength and inner steel which belies her “English rose” appearance. Both her late husband, and the guide who accompanies Charlotte (also bringing to Goldtown a batch of fresh hookers!), have laid the groundwork, both theoretical and practical, for her to learn the use of firearms, that great equalizer of force. The foundations were apparently being created for her to put her training to good use, when she finds out what happened to her child.

Then she arrives in Goldtown and the film goes to hell in a hand-basket, almost as soon as Riff Raff from Rocky Horror (O’Brien) shows up to portray the manager of the local brothel, sporting an accent of entirely indeterminable origin. For a good chunk, Charlotte appears to forget entirely what the purpose of her trip is. Even when she remembers, her investigative approach initially consists of little more than roaming the town, yelling at miners about her minor. When the truth about who is behind the abduction is revealed, it doesn’t make much sense: the motive for their acts, in particular, is more “it needed to happen because film,” rather than anything springing organically from the nature of their character.

Eve does makes for a heroine with potential. There’s something of the young Nicole Kidman about her, and it’s a good character arc for Charlotte. She transforms from a passive lady of the manor, to someone forced to sleep in a dormitory with a bunch of whores (the most acidic of whom, the severely mis-named Honey, is played by the film’s writer, Emily Corcoran), and fend off men who, somewhat understandably, believe she is also pay-to-play. However, the film likely reveals the culprit too soon: doing so eliminates what little sense of suspense present, and it’s not hard to guess how things will develop thereafter.

Such speculation will likely be accurate, and the film does at least deliver the expected payoff at the end, in the form of an armed confrontation between Charlotte and the kidnapper. By that point, most viewers will likely have given up caring much, beyond being reminded of New Zealand’s picturesque qualities.

Dir: Niall Johnson
Star: Alice Eve, Jack Davenport, Richard O’Brien, Graham McTavish

Petra by Cheri Lasota

  By

Literary rating: ★★★
Kick-butt quotient: ☆☆

Petra is a teenage Roman slave at around the birth of Christ. She is completely under the thumb of her sadistic master, Clarius, until a strange conjunction of events and a poisonous herb with mystical qualities changes the power dynamic entirely. Both of them, together with her lover, Lucius, attain immortality. But it’s an immortality which requires the two men to drink from Petra annually, or they will degenerate into sub-human monsters. Neither is happy with the arrangement: Clarius is not used to being reliant on anyone, least of all his former property, and Lucius hates the fact Petra agreed to submit to their ex-master, in order to save him. As the centuries stretch into millennia, Petra begins, slowly, to put together a group people who will be capable of defeating Lucius and the immortals he has recruited, allowing her to live in eternal peace with Lucius.

If you’re getting a bit of an Interview With The Vampire vibe here, you are not far off the mark, with the story spanning multiple human lifetimes. Fortunately, it largely stays clear of the vampiric cliches, and what could have been little more than Twilight with delusions of historical significance becomes a little more. It’s recounted in flashback from the 18th century, though there are huge gaps in the narrative, where you’re left to wonder what Petra was doing during the 1,300+ intervening years. I’m still a little vague on the specific mechanism of the immortality, too: it is based on Petra’s blood, the herb, or is it the combination? But my major problem was the overpowering emphasis on the romantic angles. Look, we get it: Petra and Clarius are super in love. Now, can we move on to interesting anecdotes about life everlasting?

Proceedings take a sharp right turn in the 14th century, when Lucius has had enough of it all, and bails. This volume is, frankly, much more interesting with him not about. Petra goes in search of him, and the resulting adventure is easily the strongest section of the book. Hearing stories of an “immortal”, she heads out from Genoa, hoping that it’s her lover, and finds herself trapped in Kaffa, a port on the Crimean Peninsula, which is being besieged by the Mongol hordes. It’s a hellish landscape, made all the worse by the plague-infected corpses which the attackers lob over the walls (this actually happened – it was the first recorded case of biological warfare, and helped decimate Europe, as merchants who survived the siege brought bubonic plague with them when they returned home). This is a very well-handled meshing of historical events with fictional characters, working to good effect. I’d like to have seen more of this, and less sloppy romance.

Petra says that she’s an accomplished swordswoman – and given the hundreds of years she’s had to practice with weapons, that makes sense. There’s rather more talk than walk, in this volume, though I sense this may be a case of the author wanting to keep her powder dry for subsequent volumes and the battles against Clarius which seem destined to come. Would I read them? Hard to say. Lasota showed she has plenty of potential, but there’s still a risk this could end up collapsing into teenage mush. Probably a case where I’d borrow volume 2, or wait for a 99 cent sale on Amazon.

Author: Cheri Lasota
Publisher: CreateSpace, through Amazon – this was part of the Dominion Rising collection for Kindle.
Book 1 in the Immortal Codex series.

Zenabel

  By

★★½
“A comedy, from the director of… Cannibal Holocaust ?”

I’m not kidding. Director Deodato is best known as the man behind one of the most notorious of all “video nasties,” a film which created such a furore, he had to produce the actors to convince the Italian courts he hadn’t killed them. But in almost fifty years of work (he’s still active today), Deodato has done everything from spaghetti Westerns to science-fiction. And more than a decade before Holocaust, back in 1968, he directed this bawdy action-comedy.

Set in the early 17th century, the titular heroine (Love) is a peasant girl who discovers she is actually the daughter of a duke and duchess, overthrown and killed by evil baron, Don Alonso Imolne (Ireland). She sets out with her “virgin army” – initially consisting of two other local women, but growing along the way – to take revenge, with the help of the local rebels under Gennaro (Parenti, the film’s producer and also Love’s husband). However, the baron has his own plans, which involve burning Zenabel at the stake.

The main problem is Deodato’s inability to pick an approach and stick with it. Love actually makes for a very good heroine: she’s feisty, brave and smarter than just about anyone else in the film. However, these positive aspects are perpetually battling against the chauvinistic or flat-out elements of sexist comedy. These have not aged well – and, indeed, hardly seem less than Neanderthal, even by the dubious standards of sixties Italy. Let the rape jokes and blatant homophobia flow! Though the latter is at least defused somewhat by Stander (best known as butler Max from Hart to Hart) as a randy villager who pretends to be gay, in order to come along with the all-female army. Hey, I laughed, even if subtle, it certainly ain’t.

As the salacious German poster, and title which translates as “Countess of Lust”, likely suggest, there is no shortage of nudity from Love and the rest of her recruits. That’s likely because it’s an unofficial adaptation of Isabella, Duchessa dei Diavoli, an erotic comic which ran for a decade, starting in 1966. This beat the official film version, starring Brigitte Skay and directed by by another cross-genre veteran, Bruno Corbucci, to Italian screens by a year. I’ve seen that, under its US title of Ms. Stiletto, and it’s tilted significantly enough to the sex side, not to qualify here [though not so far as the 1975 French re-release of Zenabel, under the title La Furie du Desir, which had hardcore scenes inserted!]

This take is still an almost schizophrenic film. The wild swings from the empowering to the crude make it feel like two directors were involved, with sharply contrasting visions, and the poor editor was caught in the middle. Similarly, the viewer will be pulled in a number of different ways from scene to scene, and the end result for me tilted somewhat toward the negative. Though as far I know, at least Deodato didn’t get hauled into court this time, it perhaps does show his talents are not in the comedy genre.

Dir: Ruggero Deodato
Star: Lucretia Love, Mauro Parenti, John Ireland, Lionel Stander