While the Golden Bat is a lesser known Japanese super hero compared to the likes of Ultraman or Kamen Rider, he is no less a venerable one. The creation of one Takeo Nagamatsu, his origin dates back to the early thirties.
The character of the high-kicking female badass was fairly commonplace in Asian cinema by 1974. But in Bollywood, not so much. The 1974 film Geetaa Mera Naam puts just such a character front and center, talking tough, sticking it to the man, and dealing out whoopass to all comers without a thought of depending on male chivalry for her fortunes.
Dharam-Veer is a movie designed to thrill. In addition to the thrill of watching its spectacular musical numbers and beautiful stars, there is the singular thrill that comes from seeing combinations of color and fabric that will likely never be repeated in human history.
The world of Qurbani is one in which mechanic Bob Christo has a free standing brick wall in his auto body shop just so he can demonstrate the power of his fists to any doubter who happens by, and a hay stack sits at the end of a jetty for the sole purpose of having a speeding car suddenly burst out from underneath it.
Despite this pedigree, not to mention its commercial success, Mr. India still comes down on the slightly wilder and trashier side of Bollywood cinema. Still, just as one needs to seek balance in their overall cinematic diet, one’s experience of Bollywood can’t be all Guru Dutt and Mother India.
With her oversized, anime girl eyes, flitting, hummingbird like movements, and immovable mass of helmet-like hair, Vijaya Lalitha is a perfect human centerpiece for Doss’s cartoon world of over the top action and histrionics.
Watching King Kong was like witnessing the moment of impact between all of those things that provide me with some of my most profound movie-watching pleasures. Had I known I could be watching films that combined wrestling, men in togas throwing boulders, giant monsters, and Kumkum dancing frenetically to catchy Bollywood music, I probably never would have seen Mother India.
Cruel Gun Story is based on a book by hardboiled crime novelist Haruhiko Oyabu. It tells the story of Togawa, a con who is sprung from prison early via the machinations of a mysterious underworld kingpin who wants Togawa to carry out a robbery that they’ve planned.
Seijun Suzuki has had the term “Maverick Director” affixed to his name like some kind of mandatory honorific. He never would have had the opportunity to achieve maverick status had he not also been able to deliver the straightforward genre pictures that he had been hired to create.
Adinath, a saintly jailer, undertakes an experiment involving six of his prison’s most hardened criminals. Under this arrangement, the prisoners will be freed under his care and taken to a barren stretch of land where they will set up a communal farm.
Taken as a trilogy, Hunebelle’s Fantomas films seem to hew closely to the spirit of those early serials that first brought Fantomas to the screen. You could even regard them as three unusually elongated chapters in such a serial. In keeping with that, Hunebelle doesn’t forget to spice Fantomas up with a generous helping of nostalgic, Saturday matinee style thrills.
Forbidden Photos concerns itself with only one murder, rather than a series of them, which might, for some, put it at a distance from the giallo genre as a whole. If you are someone who comes to giallo cinema primarily for its stylized violence that will likely be the case.