Tag: l

Lethal Dispatch, by Max Tomlinson

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Literary rating: ★★★★
Kick-butt quotient: ☆½

“There are no heroes”, I said. “Just varying levels of evil.”

Having previously read and thoroughly enjoyed, the same author’s Sendero, picking up this entry, in the same setting and with an overlap of some characters, was a no-brainer. And I’m pleased to report, it was an equally enjoyable read, once again opening a window to a time and place in history, of which I was largely unaware. The heroine this time is Inez, a supporting character from Sendero. She’s a teenage revolutionary, who joined Peru’s Shining Path rebel group, after her father was killed by government soldiers. As we join her here, the now 16-year-old Inez has had enough and wants out. She’s told she can leave, if she completes one final mission: deliver a package to a contact in Argentina’s capital, Buenos Aires.

As ever, that “one final mission” does not go as planned. Her contact ends up dead, and she’s left with no resources, on the streets. A new friend tips her off to a job as a children’s nanny – though it’s in the family of one of Argentina’s generals, who represents virtually everything Shining Path detests, and who helped carry out mass disappearances when the military junta was in control. When her charge, Joey, is kidnapped, Inez becomes embroiled in the case, both as a suspect and as she seeks to find the perpetrators. Winning the general’s trust, she becomes a key player as the situation unfolds. But is Inez truly a player, or is she being played?

The quote at the top is an accurate summary of the book’s position. Whether neo-communist terrorist or crypto-fascist military, Tomlinson does a great job of depicting everyone as, above all, human. You may not agree with their actions, yet you can see why they took them – even those who kidnapped Joey. The one element I did find a bit hard to believe is the way a young nanny was allowed, at some points, to dictate the path of the investigation. Admittedly, her intelligence and her instincts were often dead-on, more so than the professionals. That’s credible enough, because her terrorist background meant she knows how they think. It’s just that in 80’s South America, where this is set, I doubt the opinions of teenage girls were highly respected.

Otherwise, however, this was another very solid work. It has a well-laid out plot which twisted until the very last page, where you finally find out what Inez’s package contained. Though she is not exactly Atomic Blonde, our heroine has her occasional moments. These are perhaps summed up best in this line, as she heads out to face Joey’s kidnappers: “With twenty minutes to go, I headed out into a beautiful late-summer evening in Buenos Aires, with twenty-five thousand dollars in a plastic shopping bag and a small pistol down my bra.” The matter-of-fact way in which Inez describes this, tells you all you need to know about her ability to handle any situation. If you like a heroine who remains cool under pressure, this is the perfect read.

Author: Max Tomlinson
Publisher: Sendero Press, available through Amazon, both as a paperback and an e-book
A stand-alone book in the Sendero universe.

The Legend of Tomiris

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★★★
“Steppes up.”

Not quite the first film from Kazakhstan I’ve ever seen. That would be Diamond Cartel, though hard to think of a film more different from this sweeping historical epic. It tells the story of Tomiris (Tursyn), the princess of a tribe living on the Scythian plains to the East of the Caspian Sea, in the sixth century BC. She was orphaned as a young child, after her father was betrayed, and had to flee into exile. But she never forgot her origins, and as an adult, returned to claim her inheritance and take vengeance on the traitors. However a bigger threat loomed in the shape of Persian emperor Cyrus, who was casting envious eyes at the territory of Tomiris and the other tribes. After further treachery, she rallies the population under her banner, and prepares for an all or nothing battle against Cyrus’s numerically superior forces.

It looks very nice. The cinematography is excellent, and there’s no arguing that the landscapes in question are perfect for this kind of thing. Though it feels as if the film-makers fell in love with the scenery more than the characters. It seems that half the running time involves shots of characters moving from Place A to Place B, and considering the film is 156 minutes long, that’s a lot of galloping back and forth. There are even some (CGI, presumably) high-altitude aerial shots, which reduce the players to literal specks on the ground, and this is indicative of the approach being taken here.

I’d have rather seen a more personal portrait of Tomiris, and her relationships with husband Argun (Akhmetov) or best friend and fellow warrioress, Sardana (Lighg). For the movie is best at provoking emotions in the viewer, when the characters are experiencing them. Perhaps the best example is when word of Cyrus’s betrayal reached Tomiris; she knows the truth, yet suppresses herself and lets his ambassador dig his own grave with his lies. [Sidenote: as I waited for the inevitable “This is SPARTA!” moment, for a while, I was wondering why Cyrus looked and behaved so differently from his portrayal in 300. Turns out that was a different Persian emperor, Xerxes, from about fifty years later. Not that I’d take 300 exactly as gospel!] The intensity of her feelings internally is obvious, and more of this passion would have been welcome.

The version of history told here is mostly based on the writings of Herodotus. He may or may not be the most reliable source; as Chris pointed out, political spin was apparently being applied to events, even in those days. But his version is likely more entertaining than other accounts, in which Cyrus died in his sleep. While I’m sure events from 2,500+ years ago fall outside the statute of limitations for spoilers, let’s just say, that doesn’t quite happen here. Though I was a little disappointed in the “hands-off” approach, historical accuracy be damned; Tomiris largely sits back and watches her troops go into battle. The action scenes are well-staged though, and help enliven a film which does occasionally need a shot of adrenaline.

For I definitely found myself checking my watch, and it’s a case where this would be a better 100-minute movie than a 156-minute one. The finer details of negotiations between the tribes really didn’t add much; on the other hand, the “warrior woman” culture of the Massagetae feels almost glossed over. Though it’s being taken as routine, rather than depicted as some kind of aberration, was a pleasant surprise. Tursyn, appearing in her first film, manages to overcome her lack of screen experience well, and without her, this could potentially have ended up being little more than a lengthy promo video for Central Asian tourism. While definitely worth a watch – not least as a more down-to-earth contrast to Mulan – I wouldn’t say it was worth a rewatch.

Dir: Akan Satayev
Star: Almira Tursyn, Adil Akhmetov, Erkebulan Dairov, Aizhan Lighg
a.k.a. Tomiris

Lady General Hua Mu-lan

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★½
“Cinematic morphine.”

I probably should have done a bit more research before adding this to the list of versions for review here. I saw a sixties movie made by Shaw Brothers with that title, and presumed there would be kung-fu. Boy, was I wrong. There’s about one significant scene, which pits Mulan (Po) and some of her new army colleagues against each other. And that’s it. Oh, there is a battle between Imperial and invading forces. This might have contained some action, but was so poorly photographed – mostly due to incredibly bad lighting – that it was impossible to tell. What there was, instead, was singing.

Lots of singing.

For this is as much an action movie, as Hamilton was a documentary about the Revolutionary War. Now, I’ve no problems with musicals per se. I’m just more Rodgers and Hammerstein than Stephen Sondheim: I like something I can whistle. This sounds more like notes being strung together at random, and when an apparently jaunty tune is accompanied by lyrics more befitting Scandinavian death metal (“They burn, they slaughter, they rape, they catch”) the effect is even more dissonant than the score.

If I’d looked up Wikipedia beforehand, I’d have seen this described this as a “Huangmei opera musical.” Huangmei opera, in case you didn’t know (and I certainly didn’t), is a bit like the better known Peking opera. Except, per Wikipedia, “The music is performed with a pitch that hits high and stays high for the duration of the song.” To my untrained Western ear, this meant the musical numbers basically sounded like our cats, demanding to be fed. I don’t like five minutes of that kind of thing (especially at 5:30 in the morning). I can now state confidently, I do not like it at feature length either.

This actually starts reasonably well. Initially, Mulan conspires with her cousin Hua Ming (Chu) and sister to carry out her plan. This ends after her alternate persona tries to spar with her father, though he ends up giving his blessing. Ming accompanies her into military service, and they rise through the ranks. Mulan begins to have feelings for her superior officer, General Li (Chin). He likes her too, impressed with her intelligence and courage… and this Mulan would be a fine match for his daughter. #awkward. Cue mournful singing, naturally.

But the lack of dramatic conflict is what really kills this, stone dead. Mulan’s parents are largely on board with her decision. The invaders are never established as a particular threat. And everyone is remarkably chill with discovering the person they’ve known for over a decade has been deceiving them on an everyday basis. The complete absence of tension explains the tag-line at the top. Obviously, I am not the target audience for Huangmei opera. That’s fine. However, I’ve enjoyed plenty of films for which I am not the target audience, and I suspect this fails to travel well, for a variety of reasons.

Dir: Feng Yueh
Star: Ivy Ling Po, Han Chin, Kam-Tong Chan, Mu Chu

Life Blood

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★★½
“Still a better love story than Twilight“

There’s a fascinating idea at the core here. Namely, that vampires were created by God, in order to mitigate mankind’s sin by preying on the most evil examples of humanity. They’re effectively angelic enforcers. The potential in this is great. The execution, however… Well, it largely comes down to two such vampire/angels sitting around a gas station for the majority of the running time. This isn’t the only aspect which is poorly considered. It starts in 1969, when lesbian couple Brooke (Lahiri) and Rhea (Monk) are at a New Year’s party. Brooke kills a rapist, stabbing him (literally) 87 times, and the pair then flee. In the desert, they are visited by God (model Angela Lindvall), who makes Rhea into one of her enforcers.

However, Rhea insists Brooke gets the same treatment. You’d think God, with all that infallibility and omniscience might figure out giving such power to someone who just stabbed someone (I repeat, literally) 87 times, might not be a good idea. But, whatevs. The pair then lie dormant in the desert sands for forty years, because… Er, I dunno. Reasons? Eventually surfacing, Brooke revels in her new found abilities and quickly turns them to murderous ends, while Rhea tries to restrain her lover, being more in the “with great power comes great responsibility” camp. God, meanwhile, is apparently otherwise engaged, probably writing a monograph on free will.

After Brooke has offed her first victim, an unfortunately passing hitch-hiker, they hijack a camper and hole up in the gas station mentioned. This is necessary in order to avoid daylight, which in this version, still has that unfortunate effect on vampires; quite why God didn’t address that in her wisdom is also unexplained. There, they are eventually located by local police officer, Sheriff Tillman (cult legend Napier), who has followed the trail of mayhem. Rhea is going to have to decide whether to stand with Brooke, or go against her.

It gets some of the little things right, and has an off-the-wall sensibility that’s kinda endearing, and rather trashy. For instance the Sherriff’s favourite TV show is Chicks Chasing Chickens, which is exactly what it sounds like, and is the most amusing fake TV show since Ow! My Balls! God turning up in an seethrough nightie from Victoria’s Secret was also… interesting. Lahiri seems to be having fun with her role too, all lip-gloss and gleeful violence.

Unfortunately, Lahiri is flat-out terrible – with the emphasis on “flat” – and the plot doesn’t have a clue what to do with itself for the middle hour [It may be relevant in terms of the apparent lack of plot direction, the original title was the inexplicable Pearblossom, then became Murder World before settling on the eventual title]. The two leads lurk around the gas-station, bickering with each other and the cashier (Renna, who could be a low-rent version of Sean Astin), while occasionally offing people who show up. It’s far short of enough, and leaves almost all that potential, sadly unfulfilled.

Dir: Ron Carlson
Star: Sophie Monk, Anya Lahiri, Charles Napier, Patrick Renna

Lovely But Deadly

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★★★
“No, no! Not the chopped liver!”

After her brother drowns while high on drugs, Mary Ann “Lovely” Lovitt (Dooling) goes undercover at his school, Pacific Coast High, in order to root out the dealers responsible for his death. She discovers that the problem is far larger than is admitted, with those involved, and includes not just some of the most revered pupils e.g. star players on the football team (and, on more than one occasion, their jealous girlfriends!). A number of adults are also culpable, including leading school boosters, all the way up to leading local businessman ‘Honest Charley’ Gilmarten (Herd). Fortunately, Mary Ann is an expert in martial-arts, so proves more than capable of defending herself when attempts are made to dissuade her from investigating further.

The first thirty minutes of this are startlingly entertaining, which was a real shock. Sure, Dooling’s fighting skills leave a little to be desired… okay, a lot to be desired, yet her opponents sell the moves with surprising effectiveness. It feels almost like a parody of high-school films, made in the Philippines as a sly comment on President Duterte’s war on drugs, though the soundtrack appears to have strayed in from a Bond film. That applies especially to the title song, I believe sung by Marcia Woods, with its classic lyrics, such as “So low, so low, so low/How low, how low can they go?” And how could you go wrong with a film where, ten minutes in, the heroine force-feeds a dealer his own supply, while telling him a story about an old possum? Or where Mary Ann and her friend (O’Leary) are chased through the school by a pack of people in fencing uniforms?

Unfortunately, it can’t sustain this loopy energy, and loses its way badly in the middle. At least the scene where Honest Charley hits on our heroine is less creepy than you might imagine: Dooling was 27 at the time this came out, so was not exactly a convincing high-school student. She’s not the only one: school football star ‘Mantis’ Manigian is played by Rick Moser who, far from school, was actually a member of the Pittsburgh Steelers at the time. There are still sporadic moments of interest in the rest of the film. The costume party that turns into a cat-fight, leading to the immortal line at the top of this review. Or the extended climax at the docks, where Lovely is helped out by the rest of her kung-fu class, all fetching clad in their matching, zebra-striped karategi.

However, for every one of these, there are two or more scenes of tedium, such as the subplot involving Mary Ann’s boyfriend and his ambitions to be a singer (the actor involved ended up producing David Hasselhoff albums, which should be penance enough for anyone). In the end, while likely remaining more entertaining than most of its ilk, this (probably inevitably) falls short of its alternative tag-line, “James Bond couldn’t… Bruce Lee wouldn’t… They can’t do what Lovely can!!”

Dir: David Sheldon
Star: Lucinda Dooling, Michael O’Leary, John Randolph, Richard Herd

A Lonely Woman

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★★
“An overcooked spaghetti Western”

It’s one of those weird coincidences. I watched two action heroine flicks last weekend and both, while American, starred actresses who were born in Greece. Really, what are the odds? Sleeping Dogs Lie was the other: this is slightly superior, largely through being less wordy, and more genuinely vengeful. Coming home one night, Annie (Skafida) is stunned to find both of her parents dead in their house, the victims of an apparent robbery. But her concern is raised when their will is read, and Annie discovers that she has been disinherited, the victim of a mysterious late change. Annie was a foster kid, and never felt quite like “one of the family,” so is immediately suspicious of her siblings, especially the one who appears to have benefited from the update. The further she digs, the murkier the waters become, as she seeks bloody vengeance on those responsible – directly or indirectly – for the murder of her adopted parents.

Skafida is probably the best thing about this, simply for her presence, which is the cinematic equivalent of a heap of burning tyres – and not just for the amount of smoke she produces. [Seriously, I can’t remember the last film with so many cigarettes in it] I actually mean that comparison in a positive way, since she brings a smouldering, yet toxic intensity to proceedings – though, as in Sleeping Dogs Lie, it often feels like the heroine is acting in a second language. Still, the intensity keeps the viewer on edge, with the sense she’s a wild-card, who might explode into action at any moment, especially in her alter ego of “Jezebel”.

The problems are… Well, sad to say, just about everything else. Start with a story which appears to bounce around in time and space without any logic. For instance, early on, there’s a shootout between Jezebel and a group of disgruntled poker players, from whom she won her motorbike. The poker game itself shows up an hour or so later. There’s no explanation for this approach, and it serves no purpose either. Similarly, there are cases where the lack of background on a movie character can work in their favour, giving them an air of mystery. Here, it seems more like laziness.  

The music sounds as if the makers got a discount on three tunes from the stock soundtrack emporium, and decided to make the most of their bargain basement purchase, by using them in every single scene, regardless of fit. Ennio Morricone, it most definitely is not. And Cavazos certainly doesn’t match up to Sergio Leone in terms of cinematography. Even in the climactic duel, clearly intended to echo a “high noon” gunfight, the scene is edited in a hyper way which would seem better suited to an entry in the Crank franchise. While the aim of a modern take on the spaghetti Western is laudable, this is largely a failure. The end product is closer in appeal to a plate of last week’s soggy pasta than the works of Leone.

Dir: Juven Cavazos
Star: Youlika Skafida, Beau Yotty, Joe Grisaffi, Michael Tula

The Leine Basso series, by D.V. Berkom

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Literary rating: ★★★
Kick-butt quotient: ☆☆½

Leine (short for Madeleine) Basso quit her job as a somewhat-sanctioned government assassin, after realizing her boss was using her to carry out off-book, non-sanctioned ops for his personal gain. Oh, and he also tricked her into killing her lover, and b Initially working in private security, she is hired on a reality show, following the murder of a contestant (Book 1: Serial Date) by a serial killer out to make a point. Leine’s daughter is abducted, and it turns out the perpetrator is a shadow from her past, with a grudge.

In the next entry (Book 2: Bad Traffick), she’s the bodyguard to a Johnny Depp-like actor, Miles Fournier. A young girl, trying to escape from human traffickers, seeks Miles’s help, and Leine finds herself involved in taking down the ring. This experience convinces her to join up with former colleague Lou Stokes at SHEN, a private group committed to fighting human trafficking, and this forms the focus of both the third and fourth volumes. In the former (Book 3: The Body Market), a American girl on a weekend in Tijuana is abducted; the latter (Book 4: Cargo) sees an American girl holidaying in Bangkok abducted. While the third is perhaps the best in the series, I could probably have done without what feels very much like a repeat immediately afterward.

Berkom seems perhaps to have felt similarly, for the next volume (Book 5: The Last Deception) marks a sharp turn in direction. While visiting a friend at a Middle East refugee camp, Leine comes into possession of a flash-drive with potentially explosive contents, revealing a plot by a rogue Russian to lure the US into a Middle East war. While there is still an abducted girl who needs to be rescued (the daughter of an arms dealer), it’s more a sub-plot, rather than the main focus of the story. I confess to not yet having read the final two entries (Book 6: Dark Return and Book 7: Absolution), but based on the synopsis they are a little “rescue an abducted girl” and a little “forcing her to revisit a dark and violent past she thought she’d left behind.”

I haven’t mentioned A Killing Truth yet, either. Chronologically, it’s the first, though is more of a novella, coming in at a crisp 156 pages, and takes place at a point when Leine was still a federal employee. @@@@ It was the last one I read, though it doesn’t make too much difference. Berkom is good at referencing past events where relevant in future volumes. But there is not much in each book which requires particular explanation, and you could pick up any one as a standalone entity without real bother. I got editions 1-3 as an omnibus, then tacked on #4 and #5; discovering there is now an omnibus edition for them plus #6 was rather annoying. I wish there was some way I could “trade in” those two and get the omnibus.

That’s a technical issue, not particularly relevant to this review, however. To be honest, when I got the first book, I was expecting more globetrotting assassinations, and less stuff more befitting a PI or homicide detective, which is really what the first two books are more like. Things perk up considerably in #3, with Leine having to handle life south of the border; you’ll probably be crossing Mexico off your list of potential destinations by the time you’re done there. They do seem – consciously or not – to become more exotic and international, as they go on. #4 and #5 take place almost exclusively abroad, to the point that I felt a bit sorry for Leine’s boyfriend, who must barely see her!

That is a bit of an issue, though it’s a double-edged sword. I’m no fan of romantic dalliances in my action, but after Berkom sets them up as being passionately involved in one book, it seem odd for their relationship to be so apparently non-committal in the next. The same applies to Leine’s relationship with her daughter, which goes from estranged to deeply-devoted, and then back to “Leine seems little more than irritated her daughter has been abducted by Middle Eastern traffickers”. The stories work rather better when she’s operating purely on her own; then again, I don’t expect an assassin to be much of a “people person”.

Indeed, there’s part of me which wants to hear more about her earlier escapades, based in particular on some crisply effective excursions into termination with extreme prejudice: “Several yards away, a man smoking a cigarette stood with his back to her, an AK-47 at his side. He appeared to be alone. Without a word, she raised the gun and fired, hitting him twice in the back of the head.” As is though, this feels a bit like the adventures of Sherlock Holmes… after he had retired to take up bee-keeping.

Author: D.V. Berkom
Publisher: Duct Tape Press, available through Amazon, both as paperbacks and e-books as follows:

Lady Death: The Movie

  By

★★
“Death warmed up.”

My first viewing of this was on a day off from work, when I was down with some sinusy thing, and dosed up on DayQuil. So I chalked my losing interest and drifting off to the meds, and once I felt better, decided this deserved the chance of a re-view. However, the result was still the same: even as a bright-eyed and bushy-tailed viewer, I found attention lapsing. For this animated version of a mature comic, might as well be a He-Man and the Masters of the Universe episode. Which is a shame. I wanted to like it, since the creator of Lady Death, Brian Pulido, is something of a local comics legend here in my adopted home state of Arizona. This should have been better.

In 15th-century Sweden, Hope (Auten) is the daughter of Matthias (Kleinhenz), a mercenary who is actually an incarnation of Satan. When this is exposed, the innocent Hope is burned at the stake by religious zealots: there, she makes a literal deal with the devil, and agrees to re-join her father in Hell, where he has also taken her fiance, medical student Niccolo. However, once she is in the underworld, she rebels against his authority. With the aid of Satan’s former swordsmith, Cremator (Mungle), she obtains ‘Darkness’, a weapon Cremator had forged after slaying Asmodeus. Hope – or Lady Death, as she is now known – begins to amass an army and plot her demonic father’s overthrow.

All of which sounds considerably more interesting than the execution here, which is blandly uninteresting in just about every level, beginning with its depiction of hell. Even by the standards of 2004, this is low-quality animation. One of the strengths of the medium is it’s limited only by imagination: you don’t need to worry about the costs of building sets or whatever, it’s just what you draw. Yet there’s no indication here of any thought having gone into the setting. Hell is, apparently, a poorly-lit and generic cave system, populated by entities that look like Jabba the Hutt or Tim Curry in Legend. Much the same vanilla complaint can be leveled at voice-acting that’s desperately in need of more energy, save perhaps McAvin as Lucifer’s “jester,” Pagan.

But it’s perhaps the script which is the weakest element here – and considering the screenplay was written by Pulido, that’s especially disappointing. I’m only somewhat familiar with the comics, yet they seem to have a rich and fully-developed mythology. Could have fooled me based on this, where the Devil is basically an idiot, who has to make every mistake in the Evil Overlord handbook, to allow his adversary to triumph. Though this version of Lady Death appears considerably more heroic than in the source material, the question of why a “good girl” would want to reign over hell is never addressed. All that’s left is in an impressive bit of central character design, because there’s no doubt she is a striking creation. She’s someone who deserves a significantly better fate than this entirely forgettable prod with a blunt stick.

Dir: Andy Orjuela
Star (voice): Christine Auten, Mike Kleinhenz, Andy McAvin, Rob Mungle

Lachmi Bai, Rani of Jhansi: The Jeanne D’Arc of India by Michael White

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Literary rating: ★★★½
Kick-butt quotient: ☆☆☆

“Fear not,” she retorted with animation, “that I will suffer the indignity of capture at their hands. My dead body they may find, but the spirit of the Rani of Jhansi will have carried more than one of them to an accounting before the great tribunal of justice.”

“With the exception of a white turban, she was attired in a blood-red uniform from head to foot.”

I’m surprised how sympathetic a portrayal this novel has of Queen Lachmi Bai (as it’s spelled here), considering when it was published. For this came out in 1901, a point at which India was still firmly under British rule – heck, Queen Victoria was on the throne as the year began. Yet Lachmi Bai is very much the heroine, portrayed respectfully, to an almost idealized degree. For instance, it begins with the rebel massacre of British troops and their families at Jhansi. Yet this is depicted as being in explicit defiance of her command to secure them as prisoners.

It’s a mix of historical fact and pure speculation, the latter being particularly evident in a fairly platonic love triangle between the Queen, and two of her (entirely fictitious, I suspect) lieutenants, the Hindu Prasad Singh and the Muslim Ahmad Khan. The latter is the villain of the piece. His blood-lust is responsible for the massacre, and he is depicted in phrases such as “the expression of his mouth and chin denoted cruelty and treachery—the latter, perhaps, an accomplishment rather than a failing to the Oriental mind.” [While there is an argument to be made here for Islamophobia in his depiction, given the highly positive way Lachmi Bai and Prasad are portrayed, accusations of general “racism” seem lazy]

However, even he spends much of the middle portion working faithfully in support of the queen’s mission to free her country from the British. Speaking of whom, there is one scene early in the book told from the point of view of the Empire. But thereafter, they are largely referred to as “the Foreigners,” again demonstrating the Indo-centric viewpoint of the novel. While they ultimately prevail, this is not reported with any sense of triumph. Indeed, White is remarkably prophetic, Lachmi Bai saying, almost with her final breath: “Not forever shall their horsemen ride triumphantly through the land. A day will come when their law shall be no longer obeyed, and our temples and palaces rise anew from their ruins.” 46 years later, India did indeed become an independent country.

“But even if defeat is again the will of God, if die we must; is it not better to perish as warriors should, in a feat of arms upon which the eyes of our enemies will gaze with marvel, than as wild beasts hunted through the jungle?”

“Her horse leaped forward, straight for Sindhia’s guns.”

The story told here bypasses her entire life and marriage, joining proceedings after she has already become a widow. In the early stages, Lachmi Bai also takes a back seat, with the storyline revolving around Ahmad and Prasad’s rivalry. The former manipulates the latter into believing the Queen is having an affair with young officer Dost Ali, and also the Queen into believing Prasad is plotting against her. This leads to his exile for the middle of the book, until returning after the fall of Jhansi, as the Queen is making her escape from the city. Though I must say, Ahmad’s eventual fate is rather underwhelming, in a “Cersei Lannister” kind of way. Without getting too spoilery, hopes he would meet the point of Lachmi Bai’s sword proved unfulfilled.

The latter half focuses more on the Queen, as fate deals her cards both good and bad. It’s made clear the military reverses suffered are not her fault, or in any way reflect her bravery. Her commanders are to blame, along with a tendency for her forces to break under pressure. Yet, as the quote above says, she would rather have a glorious death than a subservient life. The comparisons to Jeanne D’Arc are understandable, and made explicit: “A second Jeanne D’Arc, as valiant in battle, more subtle in council than the Maid of Orleans, moved by the same passionate love for her country, had cast in their teeth a wager of defiance, to stand until either they were driven from her state, or she had perished.”

Of course, we know how the story ends, and White gives Lachmi Bai the heroic send-off she deserves: “She drew the folds of a shawl over her face to hide her death agony, and again lay down. The blackness of night grew deeper, the silence more intense. Presently, strange, warrior forms seemed to appear from the unknown and filled the Rani’s tent. One supremely beautiful figure, in dazzling raiment, came forth to enfold the dying woman in her arms.” It’s surprisingly touching, and a decent end to a story which has survived the passage of almost 120 years better than I expected

Author: Michael White
Publisher: J. F. Taylor & Company, available as an e-book for free from Project Gutenberg.

Lady Psycho Killer

  By

★★½
“Teenage angst with a body-count.”

Ella (Daly) is a shy college student, whose psychology lecturer gives the class an unusual project: break a sexual norm. Unfortunately, Ella is rather confused about the intersection between sex and violence, in part because of genetics, for her father was a serial killer, before abandoning her pregnant mother (Heinrich). As a result, Ella’s attempt to carry out the assignment by auditioning at a strip-club, ends with her slitting the throat of the owner (Ron Jeremy, being appropriately grubby). This awakens the serial killer dormant inside her, and she starts taking out the sleazy men around her. The problem is nice guy Daniel (Andres), whose unwillingness to match her stereotypical opinions of masculinity, triggers further conflicting feelings in Ella, as her acts of murder become increasingly more blatant.

A lack of subtlety is also a problem when it comes to the film’s social commentary, though some credit is due for being a couple of years ahead of the #MeToo movement. Still, the almost constant use of voice-over as a narrative tool is lazily problematic, even if you can get past the ludicrous nature of the plot, or that Michael Madsen plays the least convincing college professor in movie history [Malcolm McDowell fares better as Ella’s creepy next-door neighbour]. The most interesting thing is perhaps the heroine’s relationship with her mother, which plays a little like a suburban version of Carrie, without the religious angle to the over-protective mom. I’d like to have seen this explored further.

Daly’s performance isn’t bad, having to cover a lot of emotional range from naively innocent to stone-cold killer, while also portraying the confusion of transforming from a girl into a woman. It’s a role that would challenge any actress, and hardly a surprise that Daly can’t quite convince across all the necessary aspects. She does fare better than the men in the script, who are given almost nothing to work with beyond “be creepy.” Perhaps this is intended as a sly commentary on the shallow depiction of female victims in many horror films? Let’s charitably assume that is indeed the case, though this could equally well just be more lazy writing.

For it is the script which hampers the film most of all, with almost every development triggering a roll of my eyes. What college professor would really hand out such an assignment? What cop would just let a confessed killer go, without any interrogation or further investigation, simply because a similar murder took place? What mother would affect little more than mild concern – especially, knowing her familial history- when her daughter comes home from a date, covered in blood? By coincidence, the day after seeing this, we re-watched American Psycho, a film which is clearly a significant influence on Oliver, in more than just its title (especially the original one, which omitted the word “Lady”). Its superiority is equally undeniable: he’d have benefited by learning a bit more from the source, especially in the area of writing.

Dir: Nathan Oliver
Star: Kate Daly, Dennis Andres, Meredith Heinrich, Josh Dolphin