One of Pete Walker’s last films (only Home Before midnight and House of Long Shadows were to follow) The Comeback follows the tale of a singer (Jack Jones) attempting to record his comebcak album after a period of retirement when he got married. Newly divorced, he rents a large house and sets to work. Someone, however, doesn’t seem to want him to make his comebcak, or is he going insane?
While easily not up to the standard of his best work (which includes Frightmare and The House of Mortal Sin) there is much to be enjoyed in what is basicaly a fairly ludicrous story. The ludicrousness is highlighted to the nth degree by an absolutely farcical twist ending that is, however, delivered in such a convincing way that you are prepared to forgive.
What is notably absent from the film is Walker’s usual demaniacally twisted authority figure that give his earlier films that bit of metaphorical bite and the film is more of a straightforward flick than his usual offerings as a result. If it sounds like I’m giving a bad impression, then I don’t mean to; as I said earlier there is much to enjoy in the film, not least yet another performance of gold from Walker regular, Sheila Keith. No actress has ever chewed the scenery quite like Ms Keith and she remains one of the most under-rated horror icons in Britain in my humble opinion. Another stand out moment is the first murder, which may be the most effective Walker-flmed shock moments ever. Had the rest of the film been as top notch as this then we would be discussing an all-time classic here. It’s not, but it’s still a fun flick and a definite for any Walker fan.
Tuesday, 29 December 2009
Monday, 7 December 2009
Deadlier Than The Male/Some Girls Do
I was watching the 1960’s Bulldog Drummond revivals over the weekend and found myself heartily enjoying them which, as I thought while reflecting afterwards, is a bit surprising really as there are a few reasons why I shouldn’t like them whatsoever. First off, they are clearly James Bond rip-offs. Not that I have anything against rip-offs (quite the contrary really) but I’ve never been a fan of James Bond. Secondly, I am a Bulldog Drummond fan – both the books and the early films starring various suave actors in the role like Ray Milland and John Howard – and this version, made flesh by Richard Johnson, is nothing like the famous jut-jawed adventurer and is Hugh Drummond in name only (The word ‘Bulldog’ is not even mentioned) and I tend to dislike anything that travesties anything that I hold dear . Also both films (especially the second, Some Girls Do) are frequently silly, along the making you cringe lines. Silliness can be great, but it’s a fine line that you tread and the silliness on offer in these two flicks should have obvious to everybody involved as being the wrong type of silliness. In effect, these are pretty bad films.
But………….
Films are all about entertainment and these two deliver on that point. I’m not even going to explain the plots, because I probably couldn’t, suffice to say they’re about scientists, secret weapons, world domination etc and so on and so forth.
The music is as what you expect or hope for. A suitably sixties soundtrack with a theme song belted out at the beginning and end.
The films up the girl-ante of the James Bond series with the sheer amount of beautiful ladies that get paraded by the camera lens and in this type of film this must be considered a decided bonus, especially when one of them is Yutte Stensgaard (hooray!!). I will rather shame-facedly admit that both films score rather high on the ‘Exploitation of Women Scale’ and it’s not too difficult to discern some rather callous streaks of misogyny here and there that makes
one raise an eyebrow, Roger Moore-style. But, c’mon, it’s the sixties!
Anyway, the locations are great, direction is adequate and production costs seem to be better than most similar romps. At the end of the day they are just two mindless, fun, tongue-in-cheek capers that aren’t meant to be taken seriously whatsoever, so don’t and you might just enjoy them. The first one, Deadlier Than The Male, is easily the better of the two with a particularly notable Carl Peterson as played by Nigel Greene. In the second, Peterson is played by James Villiers and he plays it more camp, which makes the character less effective. Bizarrely the second is not just content to rip-off James Bond, it also seems to be taking the mickey out of DTTM! God knows what third one would have looked like. But I bet it would have been fun.
But………….
Films are all about entertainment and these two deliver on that point. I’m not even going to explain the plots, because I probably couldn’t, suffice to say they’re about scientists, secret weapons, world domination etc and so on and so forth.
The music is as what you expect or hope for. A suitably sixties soundtrack with a theme song belted out at the beginning and end.
The films up the girl-ante of the James Bond series with the sheer amount of beautiful ladies that get paraded by the camera lens and in this type of film this must be considered a decided bonus, especially when one of them is Yutte Stensgaard (hooray!!). I will rather shame-facedly admit that both films score rather high on the ‘Exploitation of Women Scale’ and it’s not too difficult to discern some rather callous streaks of misogyny here and there that makes
one raise an eyebrow, Roger Moore-style. But, c’mon, it’s the sixties!Anyway, the locations are great, direction is adequate and production costs seem to be better than most similar romps. At the end of the day they are just two mindless, fun, tongue-in-cheek capers that aren’t meant to be taken seriously whatsoever, so don’t and you might just enjoy them. The first one, Deadlier Than The Male, is easily the better of the two with a particularly notable Carl Peterson as played by Nigel Greene. In the second, Peterson is played by James Villiers and he plays it more camp, which makes the character less effective. Bizarrely the second is not just content to rip-off James Bond, it also seems to be taking the mickey out of DTTM! God knows what third one would have looked like. But I bet it would have been fun.
Thursday, 3 December 2009
Paul Naschy 1934 - 2009
I have just heard about the sad passing of the great Spanish horror icon, Paul Naschy. Paul was more than a giant in his particular field, he was the field. He will probably be most remembered for his many films featuring the tortured lycanthrope Waldemar Daninsky but he leaves behind a vast legacy which encompasses every single one of the classic film monsters/villains, even Dr Fu Manchu! While it has to be agreed that all of his movies were not of the same calibre, very often they would transcend budgetary constraints and produce something very special.
A few personal Naschy faves are Horror Rises From The Tomb, Curse of the Devil, Werewolf Shadow and Blue Eyes Of A Broken Doll, but even his lesser films entertained – Dr Jekyll vs the Werewolf is a prime example – and kept you riveted throughout. Many of his films were penned by himself under his real name Jacinta Molina, and he would sometimes make as many as 8 films in one year. His last film, The Waldemar Inheritance comes out in January.
RIP Paul.
A few personal Naschy faves are Horror Rises From The Tomb, Curse of the Devil, Werewolf Shadow and Blue Eyes Of A Broken Doll, but even his lesser films entertained – Dr Jekyll vs the Werewolf is a prime example – and kept you riveted throughout. Many of his films were penned by himself under his real name Jacinta Molina, and he would sometimes make as many as 8 films in one year. His last film, The Waldemar Inheritance comes out in January.
RIP Paul.
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