Dollar

Just a year before Ingrid Bergman broke into Hollywood with their remake of Intermezzo, she was still busy exploring portrayals of various characters within the context of the Swedish film industry.  Dollar was made in 1938 and focuses on the exploits of a group of people, their relationships with spouses (both their own and those attached to the other members of the group...), and ultimately a trip they all take to a ski resort where they argue, cavort, a debate who has paid off the gambling debts of one of their posse.  It's not easy to identify exactly what this film is about as it appears to be heading off in all sorts of directions at times so any enjoyment is really derived from the entanglement of relationships and the bitchy remarks that often emanate from this kerfuffle.  Ingrid plays a cheeky, energetic, teasing coquette with wonderful panache, her behavioural nuances an absolute joy to behold.  The dialogue is mostly Swedish but there is some English usage at various points throughout, and it's quite a treat to see Bergman using some of the latter in her pre-Hollywood days.

As with Walpurgis Night this film featured in a season of Bergman's early Swedish films broadcast on BBC in 1996, many of which I taped.  Dollar looks good in fullscreen B&W, with its original language track intact.  Director Gustaf Molander made a number of films with Ingrid Bergman, including this one, and began a long directorial career in 1920 with Bodakungen (AKA Tyranny of Hate).

Walpurgis Night

Before Ingrid Bergman traversed to Hollywood to make loads of movies that people know her for nowadays, she starred in a few homegrown dramas that are nigh on impossible to see nowadays.  One of these was Valborgsmässoafton or the more pronounceable Walpurgis Night to English speakers.  Devoid of easy categorisation, this 1935 B&W piece doesn't seem to want to pin itself down, with romance, drama, social politics, blackmail and murder all finding their way into the story.  Less interesting scenes of newsroom conversations (primarily about population growth, the diminishing role of love in relationships - all relevant subjects today) make up the backdrop of a story about a man (Lars Hanson) whose marriage is deteriorating, and his blooming affection for the secretary (Bergman).  She has decided that she loves him but is somewhat more determined to keep it a secret given the man's official marital status.  Her father (the editor in the aforementioned newsroom) latches on to what's going on and is not at all happy about, doing whatever he can to prevent a relationship developing.  The irony being that his daughter represents the very things he argues in favour of during the newsroom debates: someone who wants to build a relationship (subsequently producing a child) with the foundation of real love.  An uneven film, Valborgsmässoafton covers many topics that are still valid.  Best aspect, Bergman is a pleasure to watch, and it's quite beautiful to see her speaking her native tongue.

Thankfully I taped this on BBC Television in the 90s during the only broadcast that I knew of, and have kept the tape to this day.  Fullscreen of course, as shot, it plays in Swedish with English subtitles.  It's a shame that Criterion, Eureka, of BFI don't unearth a few of these for Blu-ray, as I think they're just as significant as many of the French and Japanese films that often get put out.

New Stuff: Strangler of Blackmore Castle

Picked up on US import the German produced 'krimi' film The Strangler at Blackmoor Castle, a fairly literal translation of the film's original title, Der Würger von Schloß Blackmoor.  It was made in 1963 and features sexy one time Bond-girl-to-be Karin Dor, who lives in a castle that has attracted the attention of a black-gloved killer who's interested in acquiring some diamonds that he knows are hidden somewhere.  It's kind of clunky, peppered throughout with odd stabs of German humour, which occasionally work in their idiosyncratic naivety.  Castle location is brilliant, and the Scooby Doo-esque unmasking of the killer is a bit of a cracker.  Also the distinctive music score by Oskar Sala is a real highlight - unfortunately he didn't do much else outside of TV projects and shorts.

Released on DVD by Alpha Video, the fullscreen B&W transfer is reasonable for them, but ugly in any kind of wider context, while the English dub track is merely functional.  What's worst is the fact that it's cropped (probably from 1.66:1), frequently transforming talking actors into disembodied voices.  The film's okay but I would welcome the chance to watch it one day in German language with a decent widescreen transfer.  I bought this disc because it was the only viable way to see the movie, but Alpha Video wouldn't know how to treat a film properly if a restoration course slapped them round the face.  There are no extras of course (unless you count still images of other releases by Alpha).  Strangely, many of Alpha's DVD covers are very nicely designed, with fundamentally sound understanding of colour use, this one being no exception.

New Stuff: Tetsuo

Have just picked up the recently released Blu-ray of Tetsuo and its sequel from Third Window Films.  The films are not for the conventionally weaned crowd, they're insane splatter epics about humans fusing with machines and the consequential evolutionary routes they undertake towards prospective world domination.  I prefer the first one in terms of sheer raw intensity, however, the second one is more accomplished in its realisation of the uncompromising visuals.

Shot in 16mm, the first film (Iron Man) is black and white, the second (Body Hammer) in colour, both fullscreen (OAR) and presented in 1080p transfers supervised by writer/director Shinya Tsukamoto.  Don't expect beauty,  rather these are faithful representations of what's on the negatives.  They look appropriately rough in many respects, with the former a little on the slicker side.  Advances over DVD in terms of detail are probably quite limited, but I prefer what's here for better edge delineation, reduced artefacts, etc.  It feels like you're projecting the original elements on to your wall and that's very satisfying.  The two main films, Iron Man and Body Hammer are on one Blu-ray Disc, both in Japanese (stereo, DTS-HD) with optional English subtitles.  A second disc (DVD) contains a 19 minute interview with Tsukamoto, some trailers, and best of all the director's little seen 45 minute film Denchu Kozo No Boken plus a background featurette on the same.

The two discs are packed in a standard Blu-ray case, the cover of which is reversible for different artwork choices.  That all comes in an outer cardboard slipcase.  This is a stunning, essential release from Third Window, aimed directly at the collector of unusual horror material and Eastern cinema fans.

The Fly

1986, US / Canada, Directed by David Cronenberg
Colour, Running Time: 96 minutes
Review Source: Blu-ray, Region B, Fox; Video: 1.85:1 1080p 24fps, Audio: DTS HD MA

Is there anyone that hasn't seen David Cronenberg's The Fly remake? In an age where remakes have swamped the cinema release schedules over the last ten years or so, this film is an overwhelming demonstration of what can be done with someone else's previously filmed material. Taking the core story of the Vincent Price 1958 original, the 1986 version of The Fly is brought up to date for the (then) modern era in terms of technology, science, and sheer gruesomeness. It's the story of a scientist who has cracked the teleportation problem, and in testing the machine (two pods, whereby the molecules of the one are disintegrated and reintegrated into the second) he goes through unknowingly at the same time as a house fly that has unfortunately landed in the pod prior to the teleportation. The computer confuses the two organisms and effectively splices them together at a genetic level, thus beginning a progressive transformation of the man into a horrific amalgamation of the two. What sets Cronenberg's story apart from the average monster movie, partially, is a particularly strong emotional foundation. Brundle's degeneration into disgusting monstrosity, the product of his own relentless curiosity and drive to push science forward, is ultimately tragic and believable. There are five stars of this film in my opinion - firstly, David Cronenberg of course, who continued his exploration of mutations of the human body on a thematic level, in the process creating one of the greatest remakes in cinema history. Then there is possibly the most talented composer in the film (and probably non-film) world, Howard Shore, whose score pounds home Cronenberg's themes at key points, building momentum to the devastating climax. The next two are Jeff Goldblum and Geena Davis, whose performances bring all of this together in a gripping fashion. Finally, there is Chris Walas' awe-inspiring creature effects, which are still repulsive to this day. There are a couple of moments that seem to be there purely for shock value more than anything else but the result of Brundle's dabbling is like a nasty car crash - you kind of can't take your eyes of it despite the fact that it's not at all nice to look at. The stilted dialogue of the early scenes is not to be off-putting - the film develops itself into a classic of the horror/science fiction hybrid (appropriately) genre.

I've seen this film on most home video formats and have more recently picked up the Blu-ray Disc, promptly selling the DVD. Video cassettes of this film looked awful - very muddy and indistinct. DVD was noticeably better, but the film's rough look has made it difficult to translate to the lower resolution of VHS and DVD. The Blu-ray is significantly improved - in lighter scenes the detail is very strong, colours are far more realistic, and the contrast is better balanced. Darker scenes still look quite rough, but it's probably easier to see exactly what's going on now. There are details on the creature effects that I'm sure I never saw before on DVD. Overall, it's definitely worth upgrading to the Blu-ray for full HD image quality alone. The audio track is serviced by a lossless DTS-HD surround track - most of the sound comes from the front, particularly centre, channels, but the music is embellished with the greater resolution and very welcome impact. It is limited by 80s recording technology and that's never going to change, but it sounds better here than it ever has. On the disc you also get the extras of one of the former DVD special editions (the set I originally bought had The Fly II on an extra disc, but of course that isn't included here). That includes director commentary, documentary, deleted scenes, and loads more. For fans of the film, you have to pick up this very strong Blu-ray and ditch your old DVD/laserdisc/VHS as soon as possible.

Night of the Devils

1972, Italy/Spain, Directed by Giorgio Ferroni
Colour, Running Time: 93 minutes
Review Source: Blu-ray, Region A, Raro Video; Video: 2.39:1 1080p 24fps, Audio: DTS HD-MA Mono

This once very obscure Italian/Spanish film (titled at source as La Notte dei Diavoli) is based on the 'wurdulak' legend - a vampiric creature originating, I believe, from either European or Russian mythology, who returns from the grave to sacrifice loved ones, bringing them into the netherworld, in order to combat the loneliness of limbo death. In the film a man (driven insane, Lovecraft-style, and recalling the tale in flashback) crashes his car when he believes he sees an elderly woman crossing the vehicle's path, someone who is nowhere to be seen when he emerges from the damaged motor. Wandering off in search of help that can't initially be found he discovers a local man who, after an amiable discussion, offers to let him stay at his house for the night. There he finds a family in the midst of perpetual fear as each evening a recently deceased family member returns to the building to summon them. The dead person seeks company in its lonely ethereal world paradoxically by killing those loved during life, and our protagonist finds himself apparently unable to escape this increasingly threatening and supernaturally plagued environment.

Bearing strong similarities to the vampire legend (along with elements of zombie lore), the myths of the wurdulak have largely been ignored in cinema (arguably a missed opportunity, as there is a tragic richness to the concept), with one prior notable exception: Mario Bava's classic Black Sabbath (I Tre Volti Della Paura), where the tale occupied one third of the anthology structure (with Boris Karloff). Very effectively and artistically shot was the Bava film, unsurprisingly for anyone who's seen any of his other work, and Night of the Devils, directed by the lesser known Ferroni, understandably has a lot to live up to. Ferroni did, however, a decade or so before this shoot the Gothic delight that was Mill of the Stone Women and could be considered already qualified with such territory. Proceeding in a slow and solemn fashion Night of the Devils may struggle to keep many shaky-cam-weaned teens awake, and perhaps a shake-up in the pace department would have been of benefit, but what it lacks in urgency it makes up for in sinister, supernatural ambience. The fact that it's also punctuated by occasional gore - quite heavy for the period - and a grisly disintegrating head effect is of no great disadvantage either! The grim house in which Nikolas becomes trapped is enshrouded by an air of doom as the whole family lives in terror of the regularly returning 'corpse', and the city man's inability to escape builds on this fear of the otherworldly. Eventually (and I do mean eventually!) the tension really picks up and finally pays off to an extent, as the escape attempt comes under repeated attack from the increasing number of wurdulaks, giving Night of the Living Dead a run for its rotting flesh. This great climax really strengthens the preceding sombre and plodding nature, but there is a further bonus in the slightly ambiguous angle of the conclusion itself. This adds a potentially different take on what has been remembered in Nikolas's flashback. The score is a mixed bag - the theme tune itself tends to irritate (depending on personal taste of course - some viewers seem to love it), thankfully only being used two or three times, whilst elsewhere the incidental soundtrack is suitably spooky. Composer Giorgio Gaslini was known for creating music for quite a few Italian cinema titles, most notably though his contributions to the Deep Red soundtrack.

The film was once virtually impossible to find on home video formats (although of note, there was a soundtrack CD available in Italy) - it deserves to be seen by a wider audience and the Euro horror crowd (of which I am one) in particular should be appreciative of any such release. Raro Video (their US arm) have struck a new high definition transfer for this Blu-ray and it is sumptuous. Detail is advanced over anything standard definition can produce in a delicate fashion, rather than looking overly sharp. Everything is clear and the photography of the original material (undertaken by the highly experienced Manuel Berenguer of La Residencia fame) can truly be appreciated for the work of beauty that it is. I was particularly enamoured with the lush autumnal colour palette evident throughout, and seeing the film this way actually helps one to accept the slower pace of the story - there is time to soak up the visuals, a benefit lost in much of today's kinetic film-making. Raro have done a sterling job with the picture, and struck a major point for fans of European horror. Not only that, but you get a loss-less choice of the English or Italian language tracks, with optional English subtitles available - I would urge experiencing Night of the Devils in Italian if you do not suffer an aversion to reading dialogue while you're watching a film. There's also a lively five minute introduction to the film by Fangoria's editor, who delivers a charismatic contextualisation of the movie alongside personal opinion, plus a half hour interview with composer Gaslini, who comes across as very old-school Italian if I may say so! There's a nicely designed booklet contained in the package (though I did notice a few small mistakes in this, to be pedantic) and the case is enclosed within a slipcover. Raro have given a near-lost classic of Euro Horror a fantastic release that many other companies should aspire to as more and more of these mouth-watering titles gradually appear on Blu-ray. A collector's dream.

The X Files

1998, US, Directed by Rob Bowman
Colour, Running Time: 118 minutes
Review Source: DVD, R2, Fox; Video: Anamorphic 2.35:1, Audio: Dolby Digital 5.1

Taking an idea that was most recently (in terms of the show's chronology) mentioned in the finale to season 5, the movie begins with a couple of Neanderthals discovering in a cave what may be an extraterrestrial life form, a malevolent and putrid creature that destroys them. Jump forward several million years to the present day and some Dallas boys stumble across what is probably the same place underground, one of them (the lad who played Caleb so perceptively in American Gothic) becoming trapped with a strange black liquid that infiltrates his skin and takes over his body… Not only do the fire brigade turn up but a horde of militaristic vehicles arrive, suggesting that something altogether more profound is going on than a mere threat to a child’s life. Some time later FBI agents Fox Mulder and Dana Scully are involved in a terrorist situation that has them attempting to prevent the explosion of a building and its possible consequential catastrophic loss of life. Thanks to Mulder’s innate ability to turn a seemingly illogical hunch into the catalyst for an unprecedented discovery the agents end up searching what is initially suspected to be the wrong building. It actually turns out to be the ‘right’ building and they barely escape with their lives before the whole thing blows. It later transpires that what they thought was a cleared area just prior to the blast has in fact become the death bed for a couple of firemen and a young boy. Not only that but the FBI are as good as blaming the two agents for the disaster - they really were in the wrong place at the wrong time it seems. After a hearing that places their careers somewhere in mid air Mulder is contacted by a rogue writer of conspiracy theories, a man who is constantly at odds with authorities that are pinning anything on him that might put him out of action (e.g. child pornography claims). The man suggests that the people who ‘died’ in the explosion were actually already dead and this puts Mulder (along with a reluctant Scully) on a trail that leads the agents to the realisation that the whole thing may have been designed to cover up evidence of the possibility that aliens once visited the Earth and now threaten to repopulate it.

The first theatrical outing (sometimes under-titled Fight The Future or simply The Movie) for The X Files effectively bridges the gap between seasons 5 and 6: for the cracking final episode of the former the X Files department (read: basement) was not only shut down but burned down with Mulder and Scully being reassigned to more mundane cases (such as terrorist bomb threats and the like…). The irony is that the case they’re working on turns out to be inextricably linked to the very conspiracies that they’ve been ushered away from. The opening bomb scenario reminds me a little of that in Speed, but with a touch more realism (apart from Mulder’s discovery of the bomb’s location, one of those coincidences that underpins much of the series) - a pretty exciting and highly functional grip on the viewer for what’s to come. Woven into the dialogue are keenly inserted snippets of historical passages no doubt designed to familiarise viewers who may not be up to date with the show itself, but their incorporation just about manages to avoid contrivance. Familiar characters from the show are also peppered throughout - the smoking man, the lone gunmen, and Skinner of course - and these characters become mechanically relevant elements of the fairly intricate plot. In fact some viewers unaware of the show’s staples may find some of the dialogue-heavy sections hard work, being articulate, complicated, and undeniably paranoid as they are. Hence all of the elements are there that made the show work in the first place and this would be amongst the best episodes if it were such. Surprisingly the movie doesn’t simply take on the appearance of just another episode - it looks and feels much bigger in scope from the outset: the famous 20th Century Fox ident at the beginning, an apparently much more generous budget, the 2.39:1 aspect ratio (up from the 1.78:1 of the preceding season and the 1.33:1 of earlier seasons), and the absence of the show’s opening sequence, which it has to be said just wouldn’t have worked for a convincing theatrical presentation. Some of Mark Snow’s distinctive theme has been implemented into the score generally, however, so it’s not entirely missed. Gillian Anderson and Dave Duchovny both translate their characters to the big screen well and are by this point very comfortable with the two people who simply couldn’t have been portrayed by anybody else. Their near onscreen kiss is a cool highlight too. It was really nice to see Lucas Black show up (as the boy who comes into contact with the substance) though the fact that they used Christopher Fennell too (one of Caleb’s friends in American Gothic) makes me wonder whether this was an in-joke. The story itself, penned by the show’s creator Chris Carter along with regular collaborator Frank Spotnitz, reaches a huge and rousing climax that really tingles the flesh and proves that there was still life in the dog at that point.

The video transfer is by now dated but just manages to serve its purpose in an age that is rapidly becoming hi-def by default. It’s soft and features a slightly artificial looking colour scheme that I suspect could be substantially improved nowadays. The 5.1 track is aggressive, loud, and enveloping; this suits the TV series-to-cinema upgrade perfectly. A second disc of extras combines with an audio commentary to round out a pretty good package, however, the US Blu-ray version has really made this set redundant (for some reason, only the later film - I Want To Believe has made its way to UK Blu). I think this film is a thoroughly good expansion on the show’s concepts and a carrot to entice people to continue watching into season 6. Unfortunately I feel that the show was to go on way too long and ran well out of steam by the end of its ninth and final season.