Tales from the Balkans

When Yugoslavia ceased to exist as a country in 1991, the six republics within that nation – Croatia, Montenegro, Serbia, Bosnia & Herzegovina, Slovenia and Macedonia – split up into individual countries but several of them experienced ethnic conflicts and internal strife that erupted into war. Some of the worse infighting and loss of human life took place in the Bosnia, Serbia and Croatia regions between 1991 and 1995 but chaotic conditions continued to affect the six republics up to 2001. Macedonia was spared from most of the war but people in that country lived under the constant threat of impending chaos and some individual feuds could easily have led to a full blown revolution such as the situation depicted in Milcho Manchevski’s Pred Dozhdot (English title: Before the Rain, 1994). The first Macedonian film to receive international recognition and acclaim, Manchevski’s feature debut, however, is not an attempt to delve into the social and political issues that resulted in the Yugoslav Wars or a docu-drama that puts the ethnic conflicts into a contextual frame. Instead, he takes a poetic but accessible approach that creates empathy for the victims and their families in a way that makes it just as timely and relevant today as it was in 1994.

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Kay Kyser Meets the Three Horror Men

It’s hard to imagine what moviegoers today would make of Kay Kyser and his Kollege of Musical Knowledge, but during the late thirties and early forties the big band conductor was one of the most popular entertainers in America. Thanks to the medium of radio (which was at the height of its popularity during the WWII era), Kyser built up a huge fan base through his novelty act, a winning combination of music, humor and “kollege brainbuster questions” with a cash prize for the winner. Sporting wire-rim glasses, mortarboard and academic gown, Kyser created an eccentric bookworm persona for himself and surrounded himself with equally outlandish “colleagues,” one of the more famous being Ish Kabibble (the alter ego of musician M.A. Bogue). It was only a matter of time before Kyser took his act to Hollywood and, in 1939, RKO produced his first film, That’s Right, You’re Wrong. Its success led to a more ambitious second feature, You’ll Find Out (1940), which paired the bandleader with the triple threat team of Boris Karloff, Bela Lugosi and Peter Lorre.

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A Nouvelle Vague Musical?

Angela (Anna Karina) imagines she is in a movie musical choreographed by Bob Fosse in A WOMAN IS A WOMAN (1961), directed by Jean-Luc Godard.

Of the more than 120 movies and short films in director Jean-Luc Godard’s oeuvre, there is really nothing like Un Femme est une Femme (English title: A Woman is a Woman, 1961). What other Godard creation could you describe as joyful, lighthearted and consistently playful? A homage to MGM musicals, romantic comedies a la Ernst Lubitsch and Hollywood productions shot in Cinemascope and Eastmancolor, A Woman is a Woman is essentially a valentine to Godard’s muse at the time, Anna Karina. It is also unlike any other musical ever made or even a Nouvelle Vague confection like Jacques Demy’s The Umbrellas of Cherbourg (1964).  Yet, for someone who has never seen a Godard film, it is an accessible entry point to his work and an example of why he was considered so innovative, daring and controversial for his time.

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Johnny Rotten’s Alter Ego

Some movies fall through the cracks and then are rediscovered years later by movie geeks who are amazed that such formerly “lost films” even exist. Such is the case with Corrupt (1983), which was also released in some markets as Copkiller and Order of Death, the title of the psychological thriller by novelist Hugh Fleetwood which was adapted for this film. An international production with Italian and French financing, the movie marked the dramatic film debut of John Lydon aka Johnny Rotten of The Sex Pistols fame (he had previously played a version of himself in Julien Temple’s The Great Rock ‘n’ Roll Swindle [1980], which was a semi-autobiographical/fantasy account of Malcolm McLaren and his promotion/management of The Sex Pistols). Corrupt also featured Harvey Keitel in the other major role and the music score was composed by Ennio Morricone.  Due to poor distribution and marketing (those alternate titles didn’t help), the film quickly vanished from theaters but it holds up today as a fascinating precursor to Abel Ferrara’s Bad Lieutenant (1992) while channeling some of the yin-yang duality of Donald Cammel & Nicolas Roeg’s Performance (1976).

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Shattered Bodies, Shattered Souls

When director Fred Zinnemann left MGM Studios after his contract expired with Act of Violence in 1949, he embarked on a new career as an independent filmmaker. After trying to find a suitable movie project for almost a year, his search ended when two young filmmakers, Stanley Kramer and Carl Foreman, pitched him a story about paralyzed war veterans entitled The Men (1950). It was obvious that no major studio would tackle such an uncommercial subject but Zinnemann saw great possibilities in Carl Foreman’s screenplay and agreed to direct.

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Joe Meek: Studio Recording Wizard

British record producer Joe Meek surrounded by photos of some of his acts in the 1991 BBC documentary THE VERY STRANGE WORLD OF THE LEGENDARY JOE MEEK.

Most record collectors and music lovers of the baby boom generation fondly remember some of the top forty hits created by such innovative producers like Phil Spector, Bob Crewe and Eddie Kramer during the 1960s. Another major talent also emerged in England during this time period who took a unique, hands-on approach to producing records – Joe Meek. With an arsenal of sound effects and recording devices he kept secret from everyone, Meek had a meteoric rise and fall between 1961 through 1967 but is still famous today for “Telstar,” performed by The Tornadoes. It was a monster hit in the U.K. and became the number one single in the U.S. on Billboard’s top 40 chart during the week of December 22, 1962. As a producer, Meek was not a one-hit wonder and had other best-selling singles such as “Johnny Remember Me,” a ghost ballad performed by actor turned pop star John Leyton, and “Have I the Right?” by the Honeycombs. Unfortunately, personal problems, poor financial management and competition with major labels contributed to his downfall (he committed suicide in February 1967). But a fascinating window into his life and career was produced for the Arena documentary series for the BBC in 1991 entitled The Very Strange Story of the Legendary Joe Meek.

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Sun Tribe Redux

The Japanese film poster for SEASON IN THE SUN (1956) aka Taiyo no Kisetsu.

When Ishihara Shintaro died on February 1, 2022 at age 89, most obituaries focused on his career as a politician in Japan. He first served as a member of the House of Councillors (1968 to 1972) and then as a member of the House of Representatives (1972-1995) before becoming the Governor of Tokyo from 1999 to 2012. A controversial figure in his own country, Shintaro was famous for his ultra-nationalist stance on Japan and extreme right-wing views such as discriminating against Japanese-Koreans, the disabled, women, LGBT and other social minorities. He is now considered an early proponent of “hate speech” and often denied historical accounts of atrocities committed by the Japanese against the Chinese in the infamous Nanjing Massacre of 1937, which in Japan is the same as being a Holocaust denier. What is most surprising about Shintaro, however, is his earlier career as an author and highly successful screenwriter for movie studios like Nikkatsu, Daiei and Shochiku. His critically acclaimed first novella, Taiyo no Kisetsu (English title: Season of the Sun), was published in 1955 and he adapted it into a film for director Takumi Furukawa. It became a box office sensation and inspired several successors in a film movement that became known as the “Sun Tribe” (aka Taiyozoku) movies.

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Queen of the Roller Derby

Raquel Welch. Not a name that conjures up Oscar-winning movies. Instead, a vision of a cavegirl in a bikini comes to mind. Or maybe a buff female fitness instructor with a video line for women with titles like Lose 10 Lbs. in 3 Weeks. Yet, there was a time when Raquel tried to break the Playboy playmate stereotype and prove herself as a dramatic actress. The year was 1972 and the film was Kansas City Bomber. An attempt to cash in on the then-popular roller derby craze, the film was also the actress’s first bona fide attempt to create a real flesh and blood character – a struggling, single mom of two trying to make ends meet by plying her skating talent in the sports arena.

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City Unplugged

The film poster for the Estonian crime caper film CITY UNPLUGGED (1993).

Movies about an ingenious heist or an elaborately staged robbery always come with set expectations from genre enthusiasts. Can they meet or surpass the gold bar standard set by earlier classics such as John Huston’s The Asphalt Jungle (1950), Jules Dassin’s Rififi (1955), or Stanley Kubrick’s The Killing (1956) for example? Tallinn Pimeduses (English title: City Unplugged, aka Darkness in Tallinn 1993), directed by Estonian filmmaker IIkka Jarvi-Laturi, might not ever attain the iconic status of those efforts but that doesn’t mean it isn’t a worthy addition to the genre. If anything, it is quirky and original enough to earn a cult following and probably would have if it had ever been distributed and marketed by a major Hollywood studio.

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Pedro Costa’s O Sangre

Vicente (Pedro Hestnes) and Clara (Ines de Medeiros) create their own version of family to combat the darkness in O SANGRE aka Blood (1989), directed by Pedro Costa.

Most film aficionados known that the Cinema Novo movement of the 1960s in Brazil was influenced by both Neorealism and New Wave filmmakers but became an identifiable style of its own. Portugal also had their own Cinema Novo movement in the sixties but it transitioned into a different aesthetic approach in the 1980s known as “The School of Reis,” named after Antonio Reis, a filmmaker and professor at the Lisbon Theater and Film School. Reis influenced a new generation of filmmakers that includes Manuela Viegas, Joaquim Sapinho, Joao Pedro Rodgrigues and Pedro Costa to name a few. Among this group Costa is probably the best known in the U.S. due to his work being exhibited at film festivals and art houses as well as a trilogy of his films known as Letters from Fontainhas being distributed on DVD and Blu-ray by The Criterion Collection. Less known is his 1989 debut feature, O Sangre aka Blood, which Michelle Carey of Senses of Cinema called, “Undoubtedly one of the most remarkable film debuts of the last 20 years.”

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