Reviews written by registered user
|21 reviews in total|
Don't expect 70s Eurohorror in the vein of Jess Franco and the like, and don't expect anything ingenious like the efforts of the director's father. It's a loose adaptation of motives by early romanticist Ludwig Tieck, and since there was no vampirism in literature back then, THERE ARE NO VAMPIRES IN THIS MOVIE EITHER! Just Liv Ullman coming back from the dead after 10 years and strangling children. Great locations, good acting, but neither a convincing drama nor a satisfying horror film. But I've seen much worse than that and young Ornella Muti's a treat. And I like the fact that some screenwriters of the seventies got back to classic seldom filmed literature (like Ado Kyrou did in the far superior 'Le Moine') instead of copying plotlines, themes and motives that have been used a thousand times before.
Although somewhat inferior to Nobuo Nakagawa's black and white version of a similar story, Borei Kaibyo Yashiki, this movie makes extensive use of its color footage, especially when showing the apparitions in a ghostly green light or the pond from the title tinted red. The furry cat-ghost-woman DOES look a bit ridiculous, as do some rather cheapish superimposed images, but the marvelous cinematography and the effective score still work pretty well to create a very creepy atmosphere. All in all, another example to make you wish more of these classic Japanese ghost chillers will be released for today's western audiences.
This is actually a very nice movie with good actors, a very imaginative plot and some great cinematography. But the extremely melodramatic music made some scenes almost impossible for me to take them serious, although this definitely is a serious movie about love and death. A bit more humor would have helped to increase the overall impression, though.
This movie is very funny indeed. Maybe it's an attempt at film noir with feministic background that has gone terribly wrong. Maybe the comic elements have been intended. Maybe it's a political statement with nods to Godard. The plot depicts a group of young woman that decide to kill their boyfriends if they insist on a relationship lasting longer than five days. Actually it's pretty entertaining, although all characters are talking and acting in a VERY weird way, resulting in some german reference books calling it a science fiction-movie set in the future, although there are no hints in the plot that justify such an assumption. Anyway, the guy who wrote the dialogue MUST have been on drugs: "If the condition to change society is a change of the weather, then we have to change the weather. This is not impossible." You get the idea, although this may have been a very bad translation.
The last part of Yamamoto's Vampire Trilogy has been described as the worst, but it's still very entertaining. The main problem is that it obviously tries to copy the Hammer Vampire movies, and the man with the cape always looks a little bit out of place. Otherwise, most 'scary moments' are carried out in the `Kaidan Eiga'- fashion with slow camera movements and impressive lighting. Here, and in some beautiful long shots, it shows that some skill was involved, and that the movie could have become a minor classic if it had stuck to the Japanese tradition of the Horror Film. The sound track sounds too European, too and the dubbing is a total nightmare, but I think, a subtitled version recently got released in the U.K. Recommended viewing for fans of offbeat seventies horror.
Like `El arte de Morir', this is a Spanish example of the teen slasher pic, that has some original ideas, but isn't as good as the efforts of other Spanish directors in horror film making, like Amenabar's `Tesis', de la Iglesia's `Dia de la bestia' or del Toro's marvelous `Devil's Backbone'. Still it is a lot better than the boring and predictable `I know what you did last summer', which had nothing, absolutely nothing new or inventive to it. The story tells of a secret society of serenade singers, and, guess what, lots of students are being killed. One of the highlights of `Tuno Negro' is the impressive setting at the university of Salamanca, a location that gives the film a slightly Gothic touch. Then there's the female lead: an interesting divergence from the usually dull well-behaved heroines in Slasher flicks; I liked Silke's acting a lot, although the version I've seen has been dubbed into German; can't say nothing about her original way of speaking that got criticized below. This is certainly not a masterpiece, but it's quite entertaining; I've seen much worse than that.
Although I usually try to avoid very long movies, I was glad I took the time to watch this one. Based on Jan Potocki's marvelous, somewhat `enlightened Gothic novel', this is another congenial literary adaptation of Director Wojciech Has; it's a shame this is the only one of his movies easily available. The film tells of a young soldier traveling through Spain and meeting a lot of strange characters that all have their own stories to relate. Of course, the series of interlocked stories-within-stories may appear complicated, but there is always the opportunity to just lean back and enjoy the story being told right now; or to look at the diagram in the great DVD Edition to make things clear. And surely there doesn't seem to be a central thread if you don't watch the end of the movie. (How useful would a review of, say `The usual Suspects' be, if you didn't watch the ending?) And, by the way, there are a lot more stories and framing devices in the novel It's no wonder that (Danger! Pretentious name-dropping ahead) this is one of Luis Bunuel's favorite movies, the structure of some of his later films, especially `The Milky Way' and `The Discreet Charm of the Bourgeoisie' bear a lot of resemblance. And there's a scene in `Monty Python's Life of Brian', in which the Pasheko Character reappears. (It's too close to be a coincidence.) To cut a long story short: If you prefer films with a straight forward narration; this one's obviously not for you. But if you're open minded and like to see a highly original, imaginative epic, try it.
Although the film starts off a bit in the fairy tale fashion, the film doesn't lack anything a great sixties horror movie, be it from Italy, England or the U.S. should have. I think it's wonderful that a Russian gem like this got re-released in the US, so that I could see it in Germany. If this movie had been distributed better, I think it would turn up in every horror movie history besides the works of Bava (yes, MASCHERA DEL DEMONIO was based on the same story...although the Russian version sticks a lot more to Gogol) and the Hammer and Roger Corman Productions. If you're a fan of atmospheric sixties horror, you definitely should see this one, if only for the unforgettable climax.
I've never been that much a fan of the theater, but Schnitzler's "Das weite Land" struck me immensely. So I've had my trouble with this adaptation, which, without any doubt is very well done and probably would have been appreciated by Schnitzler himself, but I've had big troubles taking it serious, because the dialogue always sounds a bit funny to me in this dialect. Actually, it's a comedy - in the Schnitzler sort of way, which means all the acting persons are playing roles in their real life - but for me the overall impact of the play is displayed better in a down-to-earth language than in a quaint dialect.
You have to be quite grateful if filmmakers choose interesting literary sources, like the novels of Leo Perutz, instead of doing half-heartedly remakes or rip-offs of stuff you've seen a thousand times before. This movie is actually quite well made and better than average, but it loses the overall ambiguity of the novel, not only by concentrating on the love story contained within. But if you don't have any chance to get an english translation of the book - the story is absolutely marvellous and predates the paranoid masterpieces of Philip K. Dick.
|Page 1 of 3:||  |