Wacky, unrestrained, and with its own mystifying internal logic that cannot be entirely chalked up to the language barrier, this low-budget Turkish exploitation film from the 1973 is very ... See full summary »
Two space cadets crash-land on a desert planet, where an evil wizard seeks the ultimate power to take over the world. Although the movie borrows some background footage from Star Wars, the plot is mostly unrelated.
To fight against the evil Iron Cross Army, led by the space emperor Professor Monster, a daredevil motorcyclist transforms into the famous Marvel Superhero, with a racecar and giant ... See full summary »
Spidey Sense Tingling Because This Weird Movie Sucks!
This funky Turkish interpretation of graphic novel lore has Spider-Man as an ultra mean bad guy running a gang of thugs in Istanbul on the wrong side of town. He has none of his Spider powers, which I guess is why he is so angry, but makes up for some of it via his ruthlessness and a peculiar ability to come from the dead - multiple times.
In fact Spider-Man while noticeably less agile looks as though he has let himself go a bit and is a tad flabby (What we in Canada refer to as "Molson Muscle"). His costume has some noticeable signs of wear and tear as well and his bushy eyebrows peak out of eye slits in his mask.
Could it be that the makers of this film got their accounts of Spider-Man's exploits only from the slanderous accounts provided by that yellow journalism scandal-sheet the Daily Bugle? If they read the comics they would know that Spider-Man/Peter Parker would never use his powers for evil. What would his Aunt May think of him? Worse what would the spirit of his Uncle Ben think? Clearly this baddie is just some dude who ordered an ill-fitting, cheap imitation Spider-Man costume and couldn't get his money back.
A rather improbable team up of Captain America (Akkaya) and Santo (Selekman) the wrestler/superhero track the Spider Gang to Turkey after Spider-Man's counterfeiting scheme in Mexico leaves a trail of angry people on both sides of the law. Cap's famous shield evidently didn't clear Turkish customs as we don't see it. But his girlfriend Julia came with him to help.
This film is so spectacularly wrong on so many levels as to show the value of copyright protection as preservation of artistic integrity more than proper assignment of royalties. Turkey, then under the control of a military junta in a chaotic struggle with terrorist groups and engaged in a brutal suppression of leftist elements offered no such copyright protection to products of comic book heroism or Western entertainment.
Like the Turkish version of Star Wars and Star Trek the staging of a rip-off like this utterly defies logic. Why not just dub or subtitle the Spider-Man cartoon and Santo movies into Turkish? Or better yet why just make a completely original set of characters with Turkish identities?
There is low-grade production value and then there is no-grade production value. What is shown here is beyond what Hollywood producers would deem incredibly cheap though the cast soldiers on even with the various continuity errors and other goofs.
It doesn't look like they were given a safe working environment to shoot under but really what does that even mean when the Turkish government was rounding up people - very much including artists and locking them up for even being suspected of having leftist sympathies?
In one scene where Captain America rescues Julia from the baddies at the Spider gang's safe-house we see a pretty silly action sequence. Hanging from conveniently placed acrobat rings, Cap attempts to heel-kick one of the baddies behind him but the stunt guys must have messed up the timing because he misses. The thug falls anyway and from the angle of the shot it looks as though the villainous henchman has been knocked unconscious by a devastating, explosive fart to the face from the hero.
Captain America's subsequent fight with Spider-Man betrays the fact that Cap is, for whatever reason, a lot more acrobatic than Spidey. El Santo is, by contrast to Spider-Man in considerably better shape than we have seen him and unlike the real Santo, generally goes unmasked. Santo in the Mexican movies he was hero of was never seen in public without his mask.
The comedic possibilities offered in Santo's time on screen are rife as he infiltrates a dogo serving as a front for the Spider Gang, discovers incriminating papers in a back office and stuffs them in his tights in a manner which looks as though he has done it to make his crotch bulge look bigger.
Unintentional humor throughout offers countless openings for snide one-liners and sarcasm. But no one needs to say anything as this Turkish rip-off lampoons itself so perfectly.
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