Geetaa Mera Naam

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.

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Dharam-Veer

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.

Qurbani

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.

Rani Mera Naam

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.

The Sister of Ursula

The Sister of Ursula is like watching a Jess Franco film without that director’s flare. Contemplate that one on the Tree of Woe. Sex scenes, the Italian coast, outlandish murders — everything about The Sister of Ursula seems to operate under the directive of “Well, this should be good, but we’re going to mess it up.”

Naked Girl Killed in the Park

In fairness, there does seem to be a genuine attempt to create an actual film here. Take the word “attempt” literally in this case. Moments of suspense and dread, though presented with apparent sincerity, are nonetheless clumsily presented few and far between.

King Kong

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

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.

Dark Purpose

Had Dark Purpose been an hour long episode of a TV show, it would have delivered. But forced to come up with, roughly, three half-hour acts, it can’t sustain the momentum and Shirley Jones, while perfectly acceptable, just isn’t dynamic enough to make us forget nothing much is going on.

Gumnaam

Gumnaam isn’t shy about the sort of films that have influenced it. Adopting the sort of jet set internationality of the 1960s, it becomes an amalgamation of old dark house mysteries and pop-art modernism filtered through the lens of Arabesque, Mario Bava, and Charade.

Underworld Beauty

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.

Eye in the Labyrinth

With Eye in the Labyrinth, Caiano demonstrates a sure hand in orchestrating his players, staging the action in striking tableaux, and allowing his creative muscles to stretch.

Do Ankhen Barah Haath

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.

Death Walks On High Heels

Few giallo directors were as adept at melding the sundry fetishes that defined the movement as Luciano Ercoli. Nudity, violence, cabaret numbers, quirky camera work, exquisite living rooms, and flash clothing all hit their crescendo under the steady guidance of a man who seems to treat every film as a fashion shoot.

Deep End

Deep End is a film about the awkwardness of transition and the disillusionment that inevitably follows a time of idealism. It was released in 1970, when the dying days of the Summer of Love were giving way to the cynicism of the 1970s; when people swept up in the promise of revolution finally had to face the reality of promises not kept.

Hatchet for the Honeymoon

Hatchet for the Honeymoon is not the kind of film to watch for a kill count or ingenuous murders. It is the kind of film to watch for paranormal and sartorial phenomena, ghosts, discotheques, mysterious deaths, horrifying old toys, and the narration of a “paranoiac.”