Series: Film / TV

The Omen trilogy directed by Richard Donner, Don Taylor, Graham Baker

This viewer was a tad late in coming to the whole Omen phenomenon … a good 30 years late, actually. But I have since eagerly made up for lost time and taken in the entire trilogy of films dealing with filmdom’s favorite little Antichrist, and here, in these three short reviews, offer up some comments as to how they struck me. Consider this your one-stop shopping resource for all things Damien! And HAPPY HALLOWEEN to one and all!

The Omen: By the time I finally got around to watching it,

Devil’s Possessed directed by Leon Klimovsky

The real-life historical figure Gilles de Rais apparently inspired Paul Naschy — the so-called “Boris Karloff of Spain” — to create two of his greatest characters. de Rais, a 15th century French knight who fought alongside Joan of Arc and later became an aspiring alchemist, Satanist and serial child killer, first prompted Naschy to come up with the necromancer/Satanist character Alaric de Marnac for his 1973 classic Horror Rises From the Tomb. Though beheaded in 1454, de Marnac (played by Naschy himself) returned to cause major-league mishegas 520 years later in the film,

Satan’s Wife directed by Pier Carpi

Those viewers who believe Patty McCormack’s Rhoda Penmark character, in the 1956 classic The Bad Seed, to be the nastiest, most diabolical little girl ever shown on film might change their mind after seeing the 1979 Italian offering Satan’s Wife. This latter picture was originally released under the title Un’ombra nell’ombra, or Ring of Darkness, but for once, I prefer the American appellation, as it is both more memorable and more suitably descriptive. An engrossing though hardly essential example of Eurohorror,

Graveyard of Horror directed by Miguel Madrid

There is a world of difference in what Spanish filmmakers could get away with before the death of Generalissimo Francisco Franco in 1975, and what they could get away with after the subsequent introduction of the infamous “S” rating (denoting sex and violence) two years later. A pair of Spanish films that this viewer recently watched has served to demonstrate these differences very clearly. The 1977 film Satan’s Blood is replete with nudity (both topless and full frontal), orgies, rape sequences, beheadings and other gory carnage (as I have written elsewhere,

Tragic Ceremony directed by Riccardo Freda

As I have said elsewhere, my abiding love for Italian actress Luciana Paluzzi has, cinematically, led me to some fairly unusual places. From my initial enthrallment with her Fiona Volpe character in 1965’s Thunderball and on to such disparate fare as the British comedy Carlton-Browne of the F.O. (1959), the Japanese sci-fi shlock classic The Green Slime (1968), the Jess Franco WIP flick 99 Women (1969) and the blaxploitation actioner Black Gunn (1972), I have always found that a little Luciana makes any film go down easier.

The Dead Eyes of London directed by Alfred Vohrer

As distinct a film genre as the American film noir of the 1940s and ’50s and the Italian giallo of the 1970s, the German krimi pictures that flourished throughout the 1960s are almost exclusively based on the works of one remarkably prolific author: British novelist Edgar Wallace. The creator of around 175 (!) novels of mystery, crime, and detection, Wallace and his gigantic oeuvre supplied the German film industry of the late ’50s to the early ’70s with a superabundance of material to draw on.

Suicide Club directed by Shion Sono

There are two types of film review that I find it particularly difficult to write. The first is for a movie that I have fallen head over heels in love with, with fear that my gushing words of praise will do little to do the picture justice. And then there is the review for a film that, despite repeated watches, I just cannot wrap my poor aching cerebrum around; in short, one that I just cannot fully understand. Shion Sono’s 2001 offering, Suicide Club, is,

The Sinful Dwarf directed by Vidal Raski

Film buffs who are curious as to what the whole Eurosleaze genre is all about could not find a better exemplar than The Sinful Dwarf. A 1973 picture from Denmark, of all places, the film conflates soft-core porn elements, deformed characters, scenes of ultracamp, and considerable doses of drugs and depravity into one of the sleaziest confections any viewer could possibly hope for.

In this truly one-of-a-kind outing, the viewer meets Lila Lash, a drunken, scar-faced ex-entertainer (played by Clara Keller), who,