Tag: musical

Lola Colt

  By

★★★
“From stage to stage.”

This spaghetti Western sees Lola (Falana) arrive in the town of Santa Ana with her troupe of dancing girls, after one of them falls ill. They need to stay there while she recuperates, under the care of the local not-quite-a-doctor-yet, Rod Strater (Martell). The town has bigger problems, being ruthlessly squeezed for every penny by El Diablo (Cobos). Lola lost her family to a not dissimilar band of outlaws, and is peeved that the menfolk are utterly cowed by El Diablo, even after Rod explains that the villains has taken hostages and is using them to compel the town’s good behaviour. But after a particularly tragic death, Lola has had enough, and rouses the town folk to action.

In many ways, this is a standard Western, with the lone good guy taking on the villains: hence its subtitle, “Face to face with the devil”. Except, of course, in this case, the guy is a gal. Oh, and Lola is black. I have just mentioned this fact more in the review, than the film ever does, being refreshingly colour-blind. It’s especially remarkable given the era, a good few years before Pam Grier would become a trailblazer back in Hollywood. It’s tempting to read race into Lola being greeted with, “We don’t need your kind around here,” when she steps off the coach. Subsequent events show it’s just the local morality police, who are severely unimpressed with her profession, rather than the shade of her skin. 

In another twist, the villain’s real name is actually Larry Stern, which sounds more like an advertising executive. He’s a businessman who got peeved when his plans for a railroad fell through because the locals wouldn’t sell him their land, and decided to take revenge on them. Falana, though born in New Jersey, was already a star on Italian TV, and also performs a few musical numbers here. Though I did wonder where the music, a full-on jazzy production, was coming from in the town’s saloon, where there are no musicians at all. She certainly brings it with her moves, which are much more Vegas than Old West. And she would indeed go on to become the highest-paid performer in Sin City. 

Until the final assault on El Diablo’s compound, where she demonstrates she does know her way around both ends of a firearm, Lola is more a figurehead to the town’s resistance, encouraging them to break free of their fears.  The physical side of things is mostly left to Rod, who gets a couple of lengthy fist-fights, including one with El Diablo, when he’s not dealing with jealous girlfriend Rose (Schürer). It is this middle section where the film struggles a little, being particularly generic in its elements. But Falana is always compelling to watch, and it’s a shame she wasn’t given many further opportunities in our genre: 1975’s Lady Cocoa was perhaps the closest she came, although it doesn’t quite qualify for inclusion here. 

Dir: Siro Marcellini
Star: Lola Falana, Peter Martell, Germán Cobos, Erna Schürer
a.k.a. Black Tigress

KPop Demon Hunters

  By

★★★
“Pop go the demons.”

The appeal of K-Pop in the West baffles me. I mean, I have a fairly low tolerance for pop in general. So the appeal of a foreign version, born from a culture to which you have no connection… Yeah. Fortunately, you need no knowledge to be entertained by this Netflix animated movie. It’s also tongue in cheek enough to work for non-fans, poking self-deprecating fun at the obsessive nature of K-Pop fandom. The title alone is so direct as to indicate the attitude. It’s accurate though. Pop trio Huntr/x are also demon hunters. They are the latest generation, tasked with keeping the forces of darkness and their ruler Gwi-Ma, out of our world through a barrier called the Honmoon.

Gwi-ma’s latest plan to dismantle the Honmoon involves creating an idol group of his own, the demonic Saja Boys. Their sudden popularity represents a growing threat to Huntr/x, who need to best them in the annual Idol Awards to stop the Honmoon from collapse. Things are complicated by the part-demon nature of Huntr/x lead singer Rumi (Cho), which she has kept secret from fellow members Mira (Hong) and Zoey (Yoo). They believe all demons are inherently evil, making her status a tad awkward. On the other side, Rumi gets to know Jinu, a member of the Saja Boys, who is wracked by guilt over his demonic nature. Naturally, it all ends in a potentially apocalyptic performance by the Saja Boys. 

I was surprised it was Chris who actually asked to watch this: she’s not a K-Pop stan either. This did turn out to be better than expected. Admittedly, said expectations were low. But it’s nicely animated, and the previously mentioned willingness not to take itself seriously goes a long way. For example, when the heroines’ efforts to go down a slide are stymied by their battle catsuits, one remarks sardonically, @@@@. Or there’s the member of Saja Boys whose fringe is so long, it covers most of his face. It’s quite dry humour, something I like. Even the songs are… tolerable, in a Eurovision Song Contest kind of way (an event for which I have a soft spot).

Of course, the way it unfolds is never less than predictable, with the power of friendship and heroic sacrifice, being the order of the day. It’s also relentlessly PG-rated, meaning that no matter how many demons are slain – and there are a lot – do not expect to see so much as a single drop of blood. These elements were in line with what I expected, and I would certainly not mind a live-action version aimed at a more grown-up audience. However, was I not adequately entertained? Yes – yes, I was. It’s a frothy concoction, that gives a glimpse into a world beyond the one I know. In fact, two worlds: both the demonic realm and the K-Pop one. Your choice as to which is weirder. 

Dir: Maggie Kang and Chris Appelhans
Star (voice): Arden Cho, Ahn Hyo-seop, May Hong, Ji-young Yoo

Hussar Ballad

  By

★★★
“Russian off to war…”

This is an adaptation of a Russian play A Long Time Ago by Alexander Gladkov, but was inspired by the real-life exploits of Nadezhda Durova. She was a woman who basically pulled a Mulan, concealing her gender in order to defend her homeland in the Napoleonic and other wars of the early 19th century. Durova joined the army on her 23rd birthday and served honourably for a decade, even after her true gender was discovered. Tsar Alexander I was impressed when he heard about Durova, giving her a promotion after summoning the soldier to his palace in St. Petersburg. Wounded by a cannonball at the Battle of Borodino, she eventually retired in 1816, with the rank equivalent to captain-lieutenant.

Somehow this became a light and fluffy slice of musical rom-com. 17-year-old Shura Azarova (Golubkina) is an accomplished rider and tomboy, who meets Hussar officer Dmitry Rzhevsky (Yakovlev), and is mistaken by him as a brother in arms. [As usual in these things, significant suspension of disbelief is required!] When war with France breaks out, Rzhevsky returns to his unit and Shura convinces faithful family retainer Ivan (Kryuchkov) to help her join the army in disguise. She makes a name for herself as a skilled and brave courier, though her relationship with Dmitry is more adversarial than romantic. There’s a French actress on whom he has designs, triggering her jealousy. Mistaken as rivalry, Dmitry and Shura end up having a duel, though the war keeps interfering in its execution. 

All is forgiven after Shura is captured on a spying mission, Dmitry leading his platoon to the rescue, and leading to a rather decent extended fight, running through a ransacked stately home. [While the actual swordplay is no great shakes in general, the other stunts aren’t bad, including Shura leaping down off a balcony, which looks to have been done by the actress herself] The sudden moments where people burst into song are a little jarring initially, yet I got used to them – probably, again, a point of comparison to Mulan. The production is quite large in scale: there’s an opening ball sequence that’s impressive, and the battle scenes aren’t bad, albeit not quite War and Peace [though some of the costumes from it were recycled here!]

There is the obvious, and given the era probably entirely expected, patriotic theme, with discussions about defending the motherland. The film’s premiere took place on the 150th anniversary, to the day, of the previously-mentioned Battle of Borodino, a famous and bloody encounter between Russia and Napoleon’s forces – best known for inspiring the 1812 Overture by Tchaikovsky. However, it’s rarely heavy-handed, and for all its fluffiness, lack of substance and shortcomings in the motivation department, you do find yourself rooting for Shura. To be honest, perhaps to a greater degree than Dmitry, who comes off as a bit of an arrogant dick. Likely more genuinely progressive than anything coming out of Hollywood around the same time. 

Dir: Eldar Ryazanov
Star: Larisa Golubkina, Yuriy Yakovlev, Igor Ilyinsky, Nikolay Kryuchkov

Jeannette: The Childhood of Joan of Arc

  By

★★½
“Joan of Arc: The Musical”

I initially intended to review this and its sequel, Jeanme, by Dumont as one entity, for a couple of reasons. They really only work as a single item. This confused the hell out me, because the second film turned up on a streaming service by itself. Five minutes in, I was so confused, I started searching the Internet, only to find I had, in effect, joined a movie already two hours in progress. Also, I suspected I would be hard-pushed to deliver 500 words on each of these. I’m not saying they’re slow-paced, but you’d overtake them riding a glacier. The first 90 minutes is basically Jeannete (Prudhomme when young, Voisin when older) standing around sand-dunes, looking after her sheep, with the occasional religious debate or vision. Three years pass here, in the blink of a caption.

Yet, here we are, since there are still topics to discuss. For example, I forgot to mention: it’s a musical. Yep, full-on songs and everything. Though not exactly contemporary to the 15th century. There’s rap. There’s rock. There’s a head-banging pair of nuns, who often speak their lines together, like a clerical version of the Mothra Twins. Now, I guess this kind of thing can work. Hamilton was very popular, though let the record show, I couldn’t sit through it. This is… Well, I can’t say it wasn’t interesting to watch. Though the overlap between “interesting to watch” and “never want to see again” has rarely been so resoundingly demonstrated. It’s apparently an adaptation of a play, The Mystery of the Charity of Joan of Arc, written in 1910. No clue if that had songs or not.

I’m really not sure what the intent here was. From what I’ve read, it seems to have been trying to recapture the spirit of naivety found in medieval passion plays, using non-professional actors. Sometimes this works, sometimes it doesn’t: the scenes featuring rapper Durand Lassois as Jeanne’s uncle are excruciating. Yet there are moments where, Voisin in particular, captures the serious intensity necessary. Do they justify the endeavour as a whole? I’m far less certain. Though matters were not helped by the distribution company going with white, unaliased subtitles that are often entirely illegible, given the variety of white backgrounds: sand, nuns’ habits, sheep, etc. Perhaps that simply was intended to add to the mystery of it all.

Even as an eight-year-old, this Jeanne seems deeply concerned about the Hundred Years’ War against England, which has been going on for far longer than she has been alive. But when three saints (at least somewhat restrained in their dance moves) show up, she doesn’t exactly leap into action. That’s when we get the three year caption mentioned above, and even further visions have her reluctant to leave her family. In the end, she bids them farewell, makes arrangements for her sheep, and hops on a horse to head off with her uncle in the direction of Orleans, and the second movie. That’s two hours of my life I’ll never get back. Though I didn’t exactly have other plans…

Dir: Bruno Dumont
Star: Lise Leplat Prudhomme, Jeanne Voisin

Lady General Hua Mu-lan

  By

★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

Little Rita of the West

  By

★★½
“Killing off the Western musical, almost a decade before Paint Your Wagon.”

I came into this almost entirely blind, watching it based on the title and the first three minutes off YouTube. You can understand my surprise, after Rita (Pavone) and her German sidekick (Dalla) take out a gang of stagecoach robbers, finishing off by gunning one down in the back, as he lies dazed on the ground, when they… burst into song? Yep, what I didn’t know was, this is actually a musical, designed around the talents of Ms. Pavone, who was apparently a huge pop-star in Italy in the sixties. Hence the songs. Okay, that makes a bit more sense. But it’s still an extremely odd beast, swinging from obvious spoof to apparent seriousness at the drop of a catchy tune.

The plot has Rita “liberating” gold from various bad guys, in conjunction with her Indian chief partner (Mitchell), with the intention of destroying it, believing it’s the root of all evil. That brings her into conflict with “Ringo” – sharing the same of a popular spaghetti Western character, but really a thinly-disguised Man With No Name – and “Django,” a not-at-all disguised copy of that iconic character, down to him dragging a coffin containing a machine-gun, and possessing broken hands. But she then meets and falls for another outlaw, Black Stan (Hill), who ends up sentenced to death after he tries to run off with Rita’s stash of gold awaiting destruction.

Much of this clearly isn’t intended to be serious, such as Rita’s rocket-propelled grenades which clip on to her gun, the local sheriff (Pavone’s husband and manager Teddy Reno) who’d rather be a lumberjack hairdresser, and the frequent references to “frontier humour,” whenever anyone makes a bad joke. But the confrontations with Ringo and Django are played more or less straight, and Little Rita (who is indeed little, at barely 4’10”) is actually made to look something of a bad-ass, punching above her weight. There are actually some genuinely impressive bits of satire, too, such as one victim asking to die “American style,” which means he gets to tell his life-story before the final breath, unlike “Indians and Japs.” The finale, too, needs to be seen to be believed, and is an absurdist breaking of the fourth wall.

However, for every smart and witty moment, there are probably two really stupid ones, while most of the performances would get their actors fired from Benny Hill for excessive comedic mugging. And the songs don’t help: I’m not averse to the concept (I’m a big My Fair Lady fan, and we’ve also seen enough Bollywood films to be able to cope with sudden jumps into musical numbers), but these are damn near irredeemably-awful. The result often finds its way into lists of the worst spaghetti Westerns ever made: if I can certainly see why, I’ll confess I was generally entertained, if only by the sheer “WTF?”-ness of proceedings. It’s more or less unlike any other GWG film you will ever see, and I’ve not seen any other spaghetti Westerns with a female lead either: for such originality alone, I can’t condemn it entirely.

Dir: Ferdinando Baldi
Star: Rita Pavone, Lucio Dalla, Terence Hill, Gordon Mitchell
a.k.a. Crazy Westerners