When it first appeared in 2000, Tears of the Black Tiger (aka Fah Talai Jone), became an instant sensation at almost every film festival that programmed the directorial debut of Wisit Sasanatieng. One of the most ambitious productions to ever emerge from the Thai film industry, Tears of the Black Tiger seemed poised for international success upon its original release but got tangled up in distribution troubles and didn’t receive a U.S. theatrical release until seven years later, despite a great reception at the 2001 Seattle International Film Festival. Continue reading
If U.S. moviegoers are familiar with the name Tinto Brass at all, it is probably due to the infamous 1979 epic Caligula which featured world renowned actors (Peter O’Toole, Helen Mirren, John Gielgud, Malcolm McDowell, etc.) and hardcore sex scenes (which were later added by producer/Penthouse tycoon Bob Guccione against the wishes of Brass who disowned the film). Brass had already established himself as a master of art house erotica/perversity with 1976’s Salon Kitty about a brothel in WWII Berlin where the prostitutes were undercover spies. But after Caligula, Brass seemed much happier directing more modestly budgeted, softcore adaptations of literary works like The Key (1983, based on the novel by Jun’ichiro Tanizaki) and Paprika (1991, inspired by the novel Fanny Hill), which showcased his increasing obsession with shapely female bottoms.
In retrospect, his early career is a contemplation of the paths not taken: documentary (Ca ira, il fiume della rivolta aka Thermidor, 1964), avant-garde cinema (L’urlo aka The Howl, 1970) and eccentric genre offerings such as Col cuore in gola aka Deadly Sweet, 1967). Of the latter, Yankee (1966), the only spaghetti western ever directed by Brass, is definitely worth a look. Continue reading
It’s a rare thing when a crime thriller departs from the usual formulaic expectations and rewards the viewer with a much more unpredictable and entertaining twist on a familiar genre. Such is the case with Les étrangers (aka The Strangers, 1969), which begins with a carefully planned diamond heist in a remote desert town that goes spectacularly awry before transitioning into a deadly game of cat and mouse between a fleeing fugitive and a couple that offer him temporary shelter. This is a superior B-movie that feels like an A-picture with its iconic international cast of actors from France (Michel Constantin), Austria (Senta Berger), Spain (Julián Mateos) and South Africa (Hans Meyer), a spaghetti western-flavored score by Michel Magne and Francoise de Roubaix, and atmospheric cinematography by Marcel Grignon, who received an Oscar nomination for Is Paris Burning? (1967) and filmed such cult favorites as Roger Vadim’s Vice and Virtue (1963) and Walerian Borowczyk’s The Beast (1975). Continue reading