REVIEW: Zimmer 13

Zimmer 13
Director: Harald Reinl
Year 1964
 
Zimmer 13, AKA Room 13, is a moody Krimi film that spends a great deal of time relying on its gothic and crime infused themes, while unraveling out a caper filled with blackmail, kidnapping, and murder. The tone of the film is dark, emphasizing the seedy underbelly of this cinematic criminal world, and the filmmakers only sprinkle a few comedic pinches every now and then so as not to drown the audience in its overwhelmingly dire atmosphere. With its beautifully haunting black and white photography and its mystery laced narrative, Zimmer 13 is a Krimi with exceptional quality.
 
The film begins with infamous gangster Joe Legge, blackmailing a respectable London man named Sir Robert Marney, in order for him to help out with a train heist that he’s planning. The reluctant Sir Robert refuses the proposal forcing Legge to threaten to kill Marney’s daughter unless he gives some unspecified help when the time comes. Fearing for his daughter’s safety, Marney enlists the help of a private detective named Johnny Gray, London’s top man. With the stage set and the players presented, all the clues of this mad caper begin to point to a nightclub called Highlow, where a rash of girls have been recently murdered by an unknown serial-killer. Do the train heist and the string of murders have an underlying connection; is the murderer among them; and what the hell is the mysterious Room 13 that the title is referring to? All of these question and more are answered in this excellent Krimi entry that has atmosphere to spare and enough entertainment value to fill a room…. Possibly Room 13. Mwahahaha! 

Joachim Fuchsberger plays the role of Johnny Gray, the private detective with a soft spot for the ladies. Joachim is a regular in the Krimi world, and his go at the role of Johnny Gray is serious and straight forward. He’s far more focused in this entry then in Der Hexer, where he played more of a comedic role in the film rather than a hard-boiled detective up against some insurmountable odds. Either way you slice it, I enjoy anything that Joachim puts out and his approach to Johnny Gray in Zimmer 13 is a well-rounded performance that hits all the right notes to compliment the already excellent atmosphere the film establishes. In the film, Johnny Gray falls for the beautiful daughter of Sir Robert Marney and their courtship and pairing is inspiring, making it puzzling that the film kind of ends on a cold note between the two with Johnny showing little to no emotion when their lives swirl wildly out of control and their relationship unpredictably becomes severed. Be that as it may, the chemistry between the two is remarkably portrayed making their bitter destiny all the more tragic.
 
As mentioned above, one of the other central roles of the film aside from the character of Johnny Gray, is the daughter of Sir Robert Marney, Denise, played by the enchanting Karin Dor. I’ve only recently been aware of this wonderfully intoxicating actress after seeing her perform in the wild Eurospy, Upperseven, where she absolutely stole the limelight from her male counterpart every time she graced the screen. Karin does much the same thing in Zimmer 13, as she demands the viewers attention each time she hauntingly stares off into the distance pondering what horrible things will happen to her character as the film progresses. What is nice about this movie is that it is split right down the middle in giving each main character the screen time they deserve. Both Johnny Gray and Denise Marney are given ample opportunity to hook the audience into their lives, forcing them to give a damn on whether they live or die. Karin does an exceptional job with her character and the black and white imagery compliments her beauty in all the right places.

Aside from the two main players of the piece, Johnny Gray and Denise Marney, the film is filled with a vast cast of memorable characters. Some like Sir Robert Marney, played by Walter Rilla, or Joe Legge, played by Richard Haussler, are inherently in step with the tone and feel of the narrative. They’re personalities gel perfectly with the dire situations that they find themselves in, but there are a few minor characters that stand out like a sore thumb because of the total contrast of their personality to the film’s overbearing tone. One in particular is the role of Dr. Higgins, played by Eddi Arent, who brings a heavy dose of comedy to his character, which in the end, feels wholly out of place, yet highly entertaining. Higgins is a scientist for Scotland Yard, and he is basically the Krimi version of Q from the James Bond series, except that he has an unhealthy obsession with a mannequin named Emily. Say what? Yeah the concept is really out there and excruciatingly out of place within this narrative, but I really enjoyed the inclusion of his character, even if he did kind of derail the atmospheric tone from time to time.

Even with the existence of such an odd and comedic infused character as Higgins, the film can’t help being extremely atmospheric and unabashedly dark in its portrayal of this sinister crime filled caper. This gothic/noir blend is beautifully imagined, taking the iconic imagery from both genres and blending it into one breathtaking amalgam that just looks absolutely exquisite. The locations also add to the atmosphere of the piece, with one in particular exuding a creepy presence that captures the tone of the film perfectly and that would be the entrance to Sir Robert Marney’s mansion. The long drive up to the estate is lined with rows upon rows of lifeless trees that sway terrifyingly in the cold autumn breeze, mimicking the doom that lies in waiting at the end of the movie for our cast of characters. I really couldn’t get enough of that location and I thought that it was a brilliantly placed moment when introducing us to it very early on in the film. If there’s one thing to take away from this Krimi entry, it’s that it succeeds beautifully in creating some wonderful imagery that compliments the overall theme perfectly.

Zimmer 13 is a substantially well made Krimi, that has a few missteps here and there, but nothing that derails the film from being highly entertaining. The atmosphere and tone is top notch, and the locations of the Marney estate and the Highlow nightclub compliment the mood beautifully. As with most Krimi films, the attention to gothic and noir injected imagery is rampantly apparent, and with Zimmer 13 we get that in abundance. The haunting visuals of this movie are simply outstanding and they help maintain that sense of awe and fear that never lets up.

With the inclusion of an outstanding cast, including Joachim Fuchsberger and Karin Dor, the film gives us a mass of characters that really chew up the scenery and push the narrative along, even if it becomes confusing as things get more complicated. The decision to include a comedic relief character into the mix is not a very inspiring one, but in the sake of entertainment Eddi Arent knocks the performance out of the park as he made me laugh a number of times despite the dire situations that were taking place around him. On the whole, Zimmer 13 is an obscure case, where despite its flaws the film still manages to work as an entertaining piece of crime/thriller cinema. Check this gem out and you’ll be cheering that it’s…...

Stand back man or I'll cut ya!

It's the grumpy man stare-down contest.

Is it tea time yet?

No I don't want to sign up for a credit card... I'm about to have SEX!

Good, Bad, I'm the guy with the gun.

Nice ass.

Nice posse.... full of jack asses.

I don't like your hat very much. What do you think of that?

Higgins you pervert.

It's Higgins! The Breast Inspector!

Did I forget to turn the iron off?

Damn that's a sweet ass!

You really do look stupid in that hat.

Screw you buddy! The hat stays on!

Psst..... I farted.

Where the shit is the bathroom? I've got a turtle head poking out!

I want to know who put this weird crystal thing in my room.

Talk about a rude welcome.

REVIEW: Mandrill

Mandrill
Director: Ernesto Diaz Espinoza
Year 2009

Mandrill is a colorful revenge flick that follows a haunted man as he hunts down his parents’ killer, only to find that vengeance isn’t always the best medicine to cure your pain of loss. With an abundant sense of style and an action oriented disposition, the film relishes in its lead character’s tremendous abilities and charismatic sensibilities when it comes to both kicking butt and establishing an emotional connection with the audience. Stemming from a team-up that has worked wonders on two previous films, Kiltro and Mirageman, both director Ernesto Diaz Espinoza and martial artist expert Marko Zaror make one hell of a dream team. Mandrill is their third collaboration and it seems that the third times the charm.

The film follows a hitman by the name of Antonio Espinoza, AKA Mandrill, who after witnessing the murder of his parents at a young age, makes it his sole purpose in life to become a professional killer in order to someday cross paths with the man who took his family away from him and deal the final death blow. One day his contact informs him of a new job and it’s the one he’s been waiting for his whole life. Determined to finally put his past behind him, Mandrill heads to his next mark thinking that after he kills the murderer of his parents, his nightmares of that horrible night will come to an end. Unfortunately for him, once the job is done a whole new set of problems begin to come into light, and Mandrill’s life begins to swirl wildly out of control. With a hard knocks lesson on the pitfalls of revenge, the film does an excellent job in telling a morality tale that has an extra punch of badass that kicks your teeth straight out. Bring it on Mandrill!

Marko Zaror plays the role of Antonio Espinoza, AKA Mandrill, and he does a phenomenal job with the character. Not only does he have the martial arts aspects of the role down packed, but he does a commendable job with the more subtle nuances of his jaded, yet optimistic character. I’ve enjoyed his other efforts that he’s contributed to within the action cinema realm, like Kiltro and Mirageman, and I’ve always respected his approach to balancing the heart pumping action with the more emotionally focused moments of his films. He always seems to play a character that has a sensitive undertone to his rugged exterior and it’s kind of refreshing to see that he takes on roles that are not just one dimensional and have something more substantial to say other than, I’m a badass. With the movie Mandrill, that’s the same case, because we get a heavy dose of melodrama within the character of Antonio and he isn’t just all about fighting and being cool. The extra layer that Marko brings to the table is something of a rare exception and in this story he is given free reign to branch out into that uncharted territory with great effect.

Pairing up against Marko’s Mandrill character is Celine Reymond, who plays the sexy daughter of Mandrill’s parents’ killer, Dominik Del Solar. Celine is exceptionally good in this role, because it allows her to show off two totally different sides of her character’s self, the sweet innocent girl and the vengeful bitch. During the moments when Mandrill is trying to earn her affection, Dominik is apprehensive about his advancements but eventually succumbs to his charm, opening up and showing a kinder gentler person underneath the hardened exterior. Then as the film moves along, she changes into a vengeful and frightening person in a blink of an eye, mirroring Mandrill’s own turn after letting the sadness of the loss of his family fuel his fire for revenge. Each side of Dominik’s character is extremely expressive and the transformation, though quickly switched on, is astonishingly diverse, making you second guess that they are played by the same actress. It’s nice to see such a beautiful lady be able to showcase such a wide range of emotions, and Celine does a wonderful job in pumping up the scale of the narrative and in the process giving it some depth.

Along with the caliber of actors, the film also has an abundance of splendid action set pieces that showcase just how unbelievably skilled its star Marko Zaror really is. The fists and kicks fly in glorious fashion and the lens pulls back to display every counter and series of viscous blows, so that you never miss a minute of the brutal action. It's nice to see a film not go the "shaky cam route" and allow the audience to actually see the choreography of the fight, as it happens. From the looks of it, it seems that Marko Zaror and the filmmakers went through some painstaking efforts in order to keep the flow of the fights moving along, and the end result is justifiably entertaining. As usual with a Zaror action film, the fights are interlaced with a tongue and cheek aesthetic, and through this stylistic trait, the movie is able to shine through in the wilder aspects of Mandrill's kinetic and cinematic fictional world.

As for the visuals of Mandrill, I’d say that they are the film’s most accomplished asset, striking breathtakingly composed shots against a color palette that’s to die for. The screen is bombarded with vivid images and brightly hued venues that literally scream out from the screen. I absolutely loved the thematic tone that the colors expressed and it definitely set the film apart from other action oriented productions, especially when it is bathed into everything in such a way that it begins to feel apart of that world. The cinematic aspects of Mandrill are a vivid place where the characters are as equally brash as their surrounding visuals. I only really noticed the vibrancy of the colors until after I watched the film, while collecting screen shots, because I was so enthralled in the moment and also because they were so perfectly a part of the cinematic realm that director Ernesto Diaz Espinoza had set up. I guess that really speaks volumes for the film’s credibility and captivating nature, when you don’t consciously notice something as visually outstanding as Mandrill’s color palette until long after you’ve absorbed it all in.

Mandrill is a beautifully imagined little film that tells a cautionary tale about revenge and the places that it will take you. Played out in an imaginary fashion, the character of Mandrill is a tragic one, only pursuing a violent life in order to someday cross paths with the person that shattered his. Director Ernesto Diaz Espinoza infuses the film with enough emotionally driven moments that it makes the fight sequences spring from the screen when they’re catapulted into action.

 

Visually speaking, the film is a wonder, taking all the colors of the rainbow and splashing them across the frame for everyone to see. There’s a rich and vibrant style to the imagery in Mandrill, and even if you don’t notice it at first, you’ll come to appreciate the colorful world that the filmmakers have created here. With its unabashed excessive nature, it perfectly mirrors the wild territories that this film delves into once the shit hits the fan and all hell begins to break loose. If you’ve found yourself enjoying Marko Zaror and Ernesto Diaz Espinoza’s other films, then give this one a go. With this being their third collaboration, you can tell that these two are a match made in heaven and that they are reaching the pinnacle of their craft together. Here’s to…..

How would you like to be Man-Drill'ed?

Now this makes golf look fun.

Should I go for the pretzels or salted peanuts?

It's little Mandrill trying to bulk up.

Mandrill, your dance moves make you look like a magician.

This strip-tease game just went a little bit too far.

The names Drill..... Man.... Drill.

Don't call me Cyclops.

Weeeeeeeeeeeee!

Looks like someones got the blues.

Take that you abrasive colors!

Mandrill shows the world his sensitive side.

Someone's about to get cold cocked.

Even his silhouette is badass!

Ho Ho Ho... Green Giant!

You ruined my perfect eyebrows you bastard!

Hey baby take it easy. I'm a lover not a fighter.

All's well that ends well.

 

i SPY EUROSPY: Operation Atlantis

Operation Atlantis
Director: Domenico Paolella
Year 1965
 
Operation Atlantis is an odd little Eurospy film that mixes elements from science fiction movies, peplums, and everything in between in order to bring about a movie that is anything but routine. The narrative is as scattered and bizarre as you’d come to expect from a combination like that, but what you’ll begin to realize is that each outrageous moment and unusual reveal ups the entertainment value of this obscure story, even if you don’t really know what the hell is going on. What you get with Operation Atlantis is a Eurospy film that keeps the traditions of the genre intact, yet adds so many unusual elements to the old formula, that it ends up coming out the other side an entirely different beast. It may not be pretty, but damn is this strange Eurospy a lot of fun.
 
The film follows secret agent George Steele as he’s snatched from his holiday in order to take on a most dire assignment. It turns out that the descendants of Atlantis have somehow survived and have put up shop in the barrens of North Africa. Guarding a huge deposit of uranium and protected by a radioactive magnetic force field, the Atlanteans posses a rich and rare metal called rubidium that everyone wants to get their grubby little hands on, most notably a criminal organization led by a ruthless and cunning man named Ben Ullah. Steele is assigned to negotiate with the Atlanteans in order to obtain the rubidium, keeping it safe from dangerous hands, but once arriving into their secluded community he discovers that they aren’t who they first appeared to be. With Ullah and his men closing in, can Steele find a way out of this mess? Who the hell knows, because I’ve seen the film and I still couldn’t tell you what exactly happened at the end. Now let’s plow through this entertaining mess.

John Ericson plays the role of George Steele, the overly confident agent whose clumsy approach towards women makes them go wild with desire. You probably think I’m joking there, but as silly as that sounds, that’s exactly what we see in this film. Steele isn’t the most debonair secret agent in the biz, nor is he the most good looking, hell I wouldn’t even go as far to say that he is even competent at his job as a secret agent, but what he does have is an abundance of confidence and a silly charm that goes a long, long way. Often at times, women literally fight over him, and Ericson does a great job in turning on that dynamic persona that makes the girls go absolutely nuts. As you’re watching the film, you’ll be in bewilderment because the character of George Steele really doesn’t do anything spectacular to get these girls and often than most, he acts kind of aloof when around them, border lining on rapist. This strange persona that Steele carries on his shoulders is just one of the many things in this film that just seem kind of off, but end up being a whole hell of a lot of fun when presented in this wild Eurospy world.
 
The women of Operation Atlantis are as equally bizarre as our main hero, with almost every single one of them suffering from some sort of bi-polar character disease. One minute they are following the path of a good guy, and then the next minute they switch over to the bad guys, only to unexplainably turn their allegiance back with Steele in a matter of a few scene changes. The tracking of these personality switches is exhausting in itself, but if you just sit back, relax, and take in the absurdity of it all, you’ll end up enjoying the ridiculous nature of this film and its characters.
 
Bernardina Sarrocco plays the role of Albia, the Atlantean princess that has a thing for good old George Steele. Bernardina does a great job in bringing out the fiery persona of her character and her almost manic disposition is both enticing and frightening. George Steele’s other leading lady is Fatma, the double, and sometimes triple, agent, played by the equally fiery Maria Granada. Even though her ultimate allegiance is never really clarified, I still got a kick out of her strong willed character and I thoroughly enjoyed the frequent catfights that occurred between herself and Bernardina’s Albia character. Last but not least, Cristina Gaioni rounds out the female cast as the blonde bombshell stewardess named Kate, who delights in teasing and sexually frustrating George Steele to no end. She appears and disappears throughout the film so frequently that you really don’t know what her purpose is in this film, even when it is revealed later on who she is siding with. She has the gorgeous looks to pull off the role and her mysterious nature only adds to her character’s appeal. Even if the production is a little out of whack, at least they have there fair share of lovely ladies to spread across this obscure Eurospy adventure.

Now let’s get into the strange elements of this film that really make it something of an oddity in the Eurospy community. Future tech is the name of the game in this entry, as the filmmakers take some liberties with the gadgetry on display. George Steele is equipped with a radio transmitter that is embedded inside of his elbow for starters, and he’s able to press upon his skin in order to activate the homing beacon and even signal when he wants supplies shipped in to him, vie helicopter. On top of that, we get to see George sporting a radioactive space suit that looks like something out of a science fiction film, when infiltrating the Atlanteans radioactive barrier. There’s even a strange sequence of events that depict a man turning into a block of ice, or at least that’s what it looked like to me, by the use of a rare metal called rubidium. Needless to say, the effects and gadgetry of Operation Atlantis is wacky as all shit, never taking itself too seriously and aiming for the stars in the name of entertainment.
 
Aside from the inventive elements of the film and its penchant for mind-boggling gadgets, the movie has a strange logic to it that never really makes a whole lot of sense. Characters show up without an introduction and leave in the same vagueness that they arrived in, leaving the viewer to ask; who the hell was that? There are many cases where a character will die or a group of thugs will attack another group, and you’ll be clueless as to why they are fighting or who they are in allegiance with. It’s very strange that a film can posses such astounding logical points, yet still be entertaining at the same time, but Operation Atlantis manages to succeed on this front. Maybe it’s the inclusion of so many outlandish concepts that keeps the film relevant while viewing, or maybe it’s the cast of unusual characters that splash across the screen as the movie speeds along. I really have no idea. All I know is that despite the film’s logical flaws, it still is an entertaining treat that really has to be seen to be believed. It’s a rare instance when something this scatter-brained ends up turning out watchable, and enjoyable at that. Oh, Operation Atlantis…. You mad trickster you.

Operation Atlantis is an enjoyable Eurospy entry, despite its logical breakdown and narrative-challenged nature. John Ericson does a great job as the super agent George Steele and his boyish obsession with the female form is ridiculously out there and especially hilarious. The man is as scatter-brained as the logic in this film, always thinking about bedding the next woman he sees instead of sticking to task and finishing the mission. I can’t even tell you if he succeeded with his mission, but that makes the oddity of this character that much more interesting and unusual. I don’t know how you can make a movie where the audience doesn’t clearly understand if the hero accomplished what he set out to do, let alone what it really was he was supposed to do in the first place, but this film nails that quagmire with expert precision.

Normally this aspect of the production would be a big fat negative, but in the Eurospy world this blatant disregard for a coherent narrative structure just so happens to work. It's the spectacle of it all that takes center stage, as the film relishes over the gadgetry, women, random characters, and outlandish plot that bombards the audience at every turn. Who gives a shit if it doesn't make a lick of sense, because it's fun and entertaining and that's all that matters. Operation Atlantis is not the most pinnacle example of the Eurospy genre, but it does have a special charm within its spotty layout, you just have to take in all of the absurdity and let go to appreciate it. This film should be renamed.....

You tell your friend to clean his ears out on his own time.

How did I get mixed up in this shit?

I'm a secret agent... want to sleep with me?

Damn guys! This script is terrible.

This guy is taking a much needed rest.

This man's hand is exquisite.

Well hello there.

Hey you in the front row... stop jerking off!

That's a comfy set up you've got there.

It was an interesting first date. 

Spooky.

You just keep those hands up Beardo.

This vacation sucks.

Now let's see that nipple slip or I'll shoot.

Next year I pick out the Halloween costumes.

It's the saddest man in a barley field.

Nice hat..... really.

You got something to say bitch?

Please don't pet me.

What are you two shitheads smiling about?