VIDEO REVIEW: The Haunting

VIDEO REVIEW: From Russia With Love

VIDEO REVIEW: The Black Abbot

VIDEO REVIEW: Matango

VIDEO REVIEW: The Indian Scarf

VIDEO REVIEW: OSS 117 se Dechaine

VIDEO REVIEW: Black Sabbath

BOND 2: From Russia With Love

From Russia with Love

Director: Terence Young

Year 1963

From Russia with love is the second Bond entry in the long standing and lucrative spy series, and it features all the staples of the genre that we love, as concocted by Ian Fleming. The film establishes Sean Connery as the quintessential men of men, as it showcases his razor wit and overpowering charm in the role of James Bond 007. Shot in a sleek style and cool temperament by director Terence Young, this continuation of Bond’s misadventures in the espionage world is not to be missed.

The film follows secret agent James Bond as he is assigned to locate a Russian decoding machine called a Lektor. The only problem is that the evil organization known as SPECTRE is also hunting for the device, and they’ll stop at nothing in order to obtain it first, doing all they can to finally put 007 out of commission for good. With the aid of a sexy Russian undercover agent named Tatiana Romanova, Bond thwarts the efforts of SPECTRE and their two best agents Donald Grant and ex-KGB agent Rosa Klebb, as he gets one step closer to taking the Lektor for Queen and Country. Live it up because James Bond is back! He’s got new incredible women, new incredible enemies, and new incredible adventures, so soak it all up and get in the 60’s super spy mood!

Once again Sean Connery takes on the iconic role of James Bond for the second time, bringing with him the outrageous banter and smooth demeanor that made his portrayal of 007 so endearing the first time around. Connery melds into the character, making every gesture and every action-packed moment his own, as he solidifies his claim as the gold standard of secret agents. As I’ve mentioned before, Connery is my absolute favorite of the Bonds and in From Russia with Love, he gives it his all and really entertains to no end. There’s no denying that the longevity of the series has a great deal to do with the efforts that Connery put in during his first five consecutive portrayals of the much lauded character. You can see the slow evolution of James Bond beginning to blossom within this second entry, which gradually comes to fruition in Connery’s third outing, Goldfinger, only to then ultimately thrive in the forth installment Thunderball. It goes without saying that Connery has had an inspired progression throughout the series, and it’s great to see the early inklings of this storied character come to life.

Daniela Bianchi takes on the role of Tatiana Romanova, a rival agent to Bond, who is assigned to get up, close and personal with the impressionable agent in order to fulfill SPECTRE’s nefarious plans. As a pawn in SPECTRE’s grand scheme, Tatiana doesn’t fully realize the plot that has been put into play, and Bianchi perfectly mirrors the loyal innocence and coy nature that the character is needed to convey in this hardened situation. With a subtle hand and an expert sensibility, Bianchi knocks this role out of the park. After her fabulous turn as the double-edged Tatiana Romanova in From Russia with Love, Bianchi went on to take the Eurospy world by storm starring in such entertaining gems as Code Name: Tiger, Slalom, Balearic Caper, Special Mission Lady Chaplin, and of course teaming alongside Sean’s own brother, Neil, in Operation Kid Brother AKA OK Connery. With her drop dead gorgeous looks and her tendency to steal the limelight from her costars, Bianchi made the perfect femme fatale, and in From Russia with Love she proved that she had what it took to become an iconic Bond girl and then some.

As for the main villain of From Russia with Love, the honors go to Ernst Stavro Blofeld, the leader of SPECTRE the international terrorist organization. Strangely enough though, we never get to see the face of Blofeld in this film, giving the infamous ruler of this organization a mysterious aura that is later revealed in the fifth entry of the series, You Only Live Twice, by the iconic actor Donald Pleasence. To take the place of this faceless SPECTRE leader, the film focuses on the henchmen of Blofeld’s illusive organization, the ones that do his bidding. Robert Shaw takes on the role of Grant, a psychotic agent, whose sole purpose is to manipulate James Bond and ultimately destroy him. Shaw does a tremendous job as the demented Grant and his methodic acting and shark-like portrayal of this dangerous agent is quite stupendous. One of the highlights of the film is the tension-filled battle of wits and strength between himself and James Bond on a passenger train. The fight is brutal as both combatants get their fair share of bruises. Another stand out villain of the film is Rosa Klebb, played by Hungarian born actress Lotte Lenya. With her dagger studded boots and nasty attitude, she becomes quite a thorn in the side of James Bond.

Aside from the lively characters of From Russia with Love, the film, in true Bond fashion, showcases a remarkable array of beautiful and picturesque locations that highlight the globe trotting aspects of 007’s world to perfection. From James’ familiar stopping grounds in London, to the bustling streets of Istanbul, to the romantic venues of Venice, and to the paranoid alleyways of Zagreb and Belgrade, this Bond entry doesn’t skimp on the international flavor. Each locale is crucial in both placing Bond in a tangible place and time, but also in adding to the intrigue of what being a secret agent would be like. Seeing all of these wonderful sights are what makes the Bond universe so appealing to cinema fans, and with From Russia with Love, we get more than our fair share of sightseeing. Though the film lacks in the more traditional Bond trappings like elaborate lairs, intuitive gadgets, and tropical settings, this second entry in the long standing series is definitely one that brings an added bit of weight to the proceedings. Even if it doesn’t match up to some of the more iconic efforts of the bunch, From Russia with Love is still a damn fine production that has the added bonus of being headlined by one of the best Bond’s, in my humble opinion.

From Russia with Love is a great entry in the beloved series of Bond films, which tones down the flamboyant and extravagant elements that the series is mostly famous for, and rather focuses on a more grounded espionage tale to expand on the Bond universe. With Sean Connery reprising his role as the iconic super agent James Bond, the film doesn’t miss a step as Connery showcases his outstanding timing and unparalleled wit to great effect. The same can be said for Daniela Bianchi’s portrayal of Tatiana Romanova, as she pulls of a captivating performance filled with a nuanced vulnerable quality that is perfectly balanced against her strong and capable abilities as a fellow agent.

With the mysterious nature of Blofeld and his physical form kept under wraps, the film generates a mystifying aura about it, specifically when it comes to the SPECTRE organization. This unorthodox approach gives the film some added weight, and it also allows the lesser villains, such as Robert Shaw’s Grant and Lotte Lenya’s Rosa Klebb, to take center stage. In true grandiose fashion, From Russia with Love takes us on a whirlwind of a ride as it jettisons us from one beautiful location to the next, weaving an international tapestry of exotic wonders that really boggles the mind. From Turkey, to Italy, to Yugoslavia, the representations of these interesting countries are on full display as they meld with the always entertaining trappings of James Bond’s wild espionage-filled world. Even if it isn’t one of the best, From Russia with Love is still a respectable entry in the series. You really can’t go wrong with a Sean Connery Bond film, and this one is no exception. If I had my way, I’d rename this entertaining gem, From Russia with…..

You know who I am goddammit!

Damn, now that's the life.

Ask me to drop my towel, or I'll shoot.

Meow Mix, Meow Mix, please deliver.

Stop right there mister!

I'm so cool I can't stand it.

Rather pleased with yourself, eh Donald?

Well don't you look as pretty as a tulip.

It was an explosive ride.

If you can't handle the heat... get your ass out of the danger room.

Is it getting uncomfortable in here or is it just Rosa Klebb.

Well hello there.

You're seriously going to wear that out to the club?

It's the romantic ballad, "Put your gun on my shoulder."

Come sail away... Come sail away... Come and sail away with Bond.

The day the Skipper snapped. Look out Gilligan!

Have another bad day at the office James?

All's well that ends well.

REVIEW: Black Sabbath

Black Sabbath
Director: Mario Bava
Year 1963
 
Black Sabbath is a compellingly creepy horror anthology directed by the master of the macabre, Mario Bava. Split up into three frightful stories, The Telephone, The Wurdalak, and The Drop of Water, this trio of gothic tales each bring their own unique flavor, making this anthology a devilishly diverse collection of atmospheric narratives that literally chill the bones. Hosted by the legendary character actor Boris Karloff, Black Sabbath is without a doubt one of the most accomplished assortment of haunting stories and it’s an ideal watch on a cold October night.
 
The anthology starts out with the segment, The Telephone, which depicts a young beautiful woman who is receiving frightening phone calls that slowly begin to send her into a maddening fit of paranoia and mistrust. The second entry, entitled The Wurdalak, is a dark tale about a Russian man who stumbles onto a family who is plagued by vampire like creature that stalks the night. The third and last entry of the anthology, The Drop of Water, follows a nurse who steals an intriguing ring from the hands of one of her deceased patients, only to be relentlessly haunted by the old woman’s apparition until it drives her to a fatal end. Each morbid tale is beautifully shot and expertly crafted, resulting in an assortment of sinister accounts that really showcase Bava’s skills as a director and storyteller.

The Telephone stars Michele Merceir as Rosy and Lidia Alfonsi as Mary, two beautiful and mesmerizing actresses who find themselves in a waking nightmare courtesy of Mario Bava. Merceir’s Rosy is the focus of the story, as it fixates on her every action after receiving that fateful telephone call that changes her life. The paranoia that Michele is able to muster up in the short time span that her segment runs is astounding and she looks absolutely stunning as the innocent woman plagued by a mysterious caller. Alfonsi also looks wonderful in her role, but her character has a sinister air to her that Lidia is able to pull off with miraculous results.
 
Like most of Mario Bava’s work, The Telephone has a tremendous atmosphere, but what is most unique about this entry is that the look of the short story is natural and much more subdued than what the master of Italian horror usual puts out. Instead of brash colors and stylized compositions, Bava uses the pacing of his camera movements and long takes to build up the tension. What results is a claustrophobic tale that really uses its small timeframe efficiently by cramming as much foreboding quality into the production as physically possible. The Telephone is an interesting gem that starts out this anthology on a very high note.

The Wurdalak stars Mark Damon as Vladimire d’Urfe, Susy Andersen as Sdenka, Massimo Righi as Pietro, Rika Dialina as Maria, Glauco Onorato as Giorgio, and the legendary Boris Karloff as Gorca. In this segment, Damon takes on the main character of the story as he portrays a Russian count who wanders into the most bizarre of tales. Mark plays the role of the inquisitive and curious Vladimire with a great deal of sympathy, and the lengths that he goes to in order to save the members of the plagued family in this story, is quite noble and ultimately tragic. The real shining star of this tale is Karloff as the intimidating Gorca. Straddling the thin line between friend and foe, the compromised character is the stark depiction of the fabled Wurdalak, a vampiric creature who was once a person but now feeds on his loved ones to survive. Karloff is absolutely creepy as the nightstalker and his screen presence in this entry is almost too much to bear.
 
In Bava’s traditional style, this entry is steep in the director’s iconic imagery and immaculate cinematography, which is credited in this film by the accomplished and frequent Bava collaborator, Ubaldo Terzano. The gothic nature of this segment is uncanny as it barrages the audience with a heavy dose of foggy atmosphere and somber lighting that sets the tone of the story off with a morbid sensibility that captures you right from the start. The visuals work wonders with the fairy tale quality of the narrative, and it adds an extra layer of depth to the fable that strikes a haunting accord to those that love their fictional retellings thick with impenetrable atmosphere. With a visual palette of cool hues and subdued melancholy tones, The Wurdalak is a subtle introduction into the color blasted third story, The Drop of Water, which takes Mario Bava’s impressionable style to the max.

The Drop of Water, the final entry in Bava’s heralded anthology, stars Jacqueline Pierreux as Helen Chester, Milly Monti as The Maid, and a fabricated corpse that will literally give you nightmares. Pierreux takes center stage in this segment as she, for the most part, is the main player of the piece. Jacqueline does a stupendous job as the unfortunate woman who suddenly begins to be haunted by the deceased patient that she greedily robbed from. The fright in her eyes and the slow decent into madness that she portrays is just disturbing to see play out, and you almost feel sorry for this poor woman even though she did something rather despicable to get into this situation. I really have to commend Pierreux for her performance, because she really is the driving force behind this story, working only against the surreal backdrop of Ubaldo Terzano and Mario Bava’s most excellent and hypnotic cinematography.
 
Lambasted in a vibrant hue of rainbow colors, The Drop of Water is a feast for the eyes. Played out in a strobe like manner, the unsettling rhythm of this piece is enough to incur madness onto the viewer and the way that Bava dips from darkness into light is a surreal mechanic that truly imbues a dream like quality. Lost in a nightmare of guilt and fright, Jacqueline Pierreux’s Helen Chester is awash in a sea of colors and horrific hallucinatory images that only Mario Bava could dream up. I was amazed by the impeccable timing and pacing that Bava was able to conjure for this entry, and his use of the decrepitly depicted corpse and its creepy appearances throughout the main character’s apartment is some of the most fear-provoking of moments to ever grace horror cinema. Not only that but Bava masterfully uses the sound of dropping water to drive his main character mad in the most unusual but effective of ways. With its psychedelic visuals and unsettling nature, The Drop of Water is a perfect bookend to an outstanding anthology.

Black Sabbath is an achievement of momentous proportions as it slowly builds from story to story, to end on the most shocking and disturbing of notes. Knee deep in Mario Bava’s signature style and played out in the most classical of ways, this anthology is one for the record books. The combined breadth of the cast is unparalleled, and the quality performances that come out of this omnibus of talent are often at times magnificent and essentially magical. From the simplicity of the first tale, The Telephone, all the way to the last thematically rich entry, The Drop of Water, this collection of tremendously succinct tales is a paradise of genre concepts.
 
Not only is the content of these three tales at such rich levels, but the quality in which they are presented is of the utmost, beautifully rendered. As with The Telephone, Bava tones down his style for a more intimate portrayal of a woman descending into madness, but then slowly sets into motion an avalanche of vibrant atmosphere as the rest of the stories begin to unfold. It is this gradual build up that I believe really lends to the otherworldly flow of the film. The progression charges the tone of these collections of work as it rises to its epic climax, filled with super realized color schemes and supernatural and surreal induced imagery that is nothing less than spectacular. If you are at all curious about Mario Bava’s work and you’re looking to take on some of his most accomplished efforts, then look no further than Black Sabbath. Within this anthology of morbid tales you’ll find some of the director’s best creations, while at the same time getting a first hand look at all that this legendary filmmaker has to offer. I can think of nothing more fitting to watch during the Halloween season and I beg anyone that hasn’t checked out this devilish collection of intriguing tales to do so immediately. You’ll be happy that you did. Black Sabbath is…..

Peek a boo you fucks you!

Don't answer the phone!

Sleeping Beauty is a bed hog.

Let me give you a massage..... a DEADLY massage!

Mark Damon doing his best Bilbo Baggins. STING!

Boris has one hell of an interesting fashion sense.

Karloff you peeping pervert!

Damn you Wurdalak!

Now that's creepy as shit!

Oh my goodness! The maid can't believe how cool this anthology is.

Well if this isn't just the most creepy bedroom in the world.

This little light of mine... I'm gonna let it shine.

Hello folks.

Give me back my HAND!