Archive for Luc Moullet

Hercules Versus Everybody

Posted in FILM, Mythology with tags , , , , , , , , on February 17, 2015 by dcairns

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Italian peplum specialist Vittorio Cottafavi gets a sympathetic airing in Richard Roud’s Cinema: A Critical Dictionary (which is an excellent book: pick up both volumes secondhand TODAY), considered along with Mario Bava and, as I recall, Riccardo Freda. But I’ve never managed to see anything by VC that matched up to the description of his work, all swirling mists and translucent veils. The stuff I’ve seen has been colourful but kind of flat and not very interesting. (In Luc Moullet’s LES SIEGES DE L’ALCAZAR, the film critic hero is held up to ridicule for being a Cottafavi completist.)

But LA VENDETTA DI ERCOLI (THE REVENGE OF HERCULES), a 1960 nonsense with he-man Mark Forest, is somewhat endearing, just because it’s so preposterous. It stands head and muscly shoulders above the average sword-and-sandal slugfest in stupidity, which is saying a very great deal. If you’re not interested in Cottafavi, you would be likeliest to have checked this movie out in order to appreciate the sight of Broderick Crawford in a skirt, since Larry Cohen ommitted that image from THE PRIVATE FILES OF J. EDGAR HOOVER, but I’m here to tell you, come for the skirt, stay for the animal punching.

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Hercules, a truly obnoxious character, kills everything he sees in this movie. In Scene One he stabs a dog to death. Admittedly, it’s Cerberus, the three-headed guard donkey dog of the Underworld. But it’s actually chained up, and seems incapable of movement being as he’s an unconvincing automaton. The stabbing goes on for a very long time indeed: maybe even longer than Willem Dafoe spends punching that poor crow in ANTICHRIST, and that’s a LOOONG time.

In his second scene, Hercules, who still hasn’t actually spoken, murders a… well, I’m not sure what it is. It’s a man on a wire, obviously, dressed in some kind of furry costume with bat wings. I was assuming it was one of the Wicked Witch’s flying monkeys, but when Cottafavi finally dares to grant it a post-mortem closeup, it has the face of a cat. The flying cat-monkey is my favourite character in the film, and I call him Alan.

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Later, Hercules wrestles a real elephant, and you’ll be glad to know the elephant probably quite enjoyed it and doesn’t seem to be harmed.

Then (or was it earlier?) he strangles a bear. The bear is definitely not real. He’s a man in a bear costume, and he’s so unconvincing I’m not even convinced he’s a REAL man. Not like Mark Forest, who, as Hercules the enemy of the entire animal kingdom, chokes the life out of him without hesitation.

There’s also a centaur/faun — in defiance of Greek mythological classification, the character is both goat-legged and horse-legged, depending on mood, I guess. Hercules apparently causes his death, in some mysterious magical way. I didn’t fully understand it. But if anything drops dead in this film, by this point I’m quite prepared to assume Hercules is responsible.

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“Hey, quit it!”

About the only animals not killed by our hero are the horses, and the snakes in the snake pit, though I don’t give great odds for their survival after Brod the Broad falls into the snakepit. I’m laying their deaths at Herc’s door too, unless further information comes to light.

The US release features a stop-motion dragon animated by the great Jim Danforth. I think it’s safe to assume Hercules kills it.

Oh hey, that whole version is online, in pan-and-scan, washed-out pinkoscope. Dragon at 1:07:56.

The vivid animation alternates with some goofy moronimatronic full-scale puppetry. I guess the big fellow is an advance on the dragon from Lang’s NIBELUNGEN because it doesn’t have its eyes in the front of its head like a person (fun fact: Debra Paget’s partner in the snake-dance in Lang’s much-much-later THE INDIAN TOMB *also* has stereoscopic vision, proving that these inaccurate reptiles are not a mistake but an authorial signature… Lang referred to himself as a dinosaur and had faulty vision, so we’re halfway to a theory already…) but we have to deduct points since it only exists from the neck up, like Benedict Cumberbatch. But it’s a long neck. Like Benedict Cumberbatch.

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Shorts 2

Posted in FILM with tags , , , , , , , , on June 21, 2008 by dcairns

A slightly flat Friday spent mainly hanging around the Film Fest. I was interviewed for an online thing, and feel I came across rather negative. Don’t want to be negative. Think UP!

Luc

Saw some more shorts, mainly good ones — Luc Moullet’s LE LITRE DE LAIT, in which a trip to buy milk is fraught with anxiety, was very funny, simple and effective. I admired the hero’s RED T-SHIRT, also. My own T-shirt is blue.

I LOVE SARAH JANE is a zom-rom-com, a sweet story of teenage love and zombie holocaust, with a Romeroesque purity to its ghoulish mayhem, and its young cast achieves the naturalism of performance that was missing in Romero’s own DIARY OF THE DEAD.

The Belgian MUMBLER was very strange, very beautiful, very funny. Inexplicable occurrences and freakish characters pile up on the screen with reckless abandon. The popular classics soundtrack was very effective but I always think people should hunt around more and find music tracks that aren’t widely familiar.

Then there was a panel discussion on horror cinema, which was kind of dull. The panelists were all knowledgeable and interesting in their own right, including novelist Muriel Gray and the directors of MUM AND DAD and BLOOD CAR, but there was such universal agreement on nearly everything under discussion that no real heat was generated. Questioners from the audience tried to inject some controversy, but I’m afraid they were mainly incoherent nutters.

It reminded me of a panel on censorship from the James Ferman era at the B.B.F.C. All the panelists were pro-censorship, which made debate rather pointless. If that long-ago panel could somehow have been blended with this one, where everybody was anti-censorship, we might have seen some fireworks.