MOVIE: The Red Queen Kills Seven Times (1972)

 

The Red Queen Kills Seven Times

aka La damma rossa uccide sette volte

Directed by Emilio Miraglia

Starring Barbara Bouchet, Ugo Pagliai, Marina Malfatti, Sybil Danning

Phoenix Cinematografica/Romano Film/Traian Boeru/Cineriz 1972

 

A prophecy (portrayed in a family painting) dictates that there is a curse on the Wildenbrücks: Every 100 years two sisters will grow to hate each other. One (depicted as the Black Queen), will kill the other (known as the Red Queen). The prophecy says that the Red Queen will then return, killing seven times to avenge her death.

For the current generation of the family, the prophecy seems to be working its spell as Kitty Wildenbrück accidentally kills sister Eveline during a fight. Older sibling Franziska helps to cover the death up, leading everyone to believe that Eveline has gone to the USA, but when grandfather Tobias dies of a fear-induced heart attack and a series of murders linked to Kitty occur, a police artist’s impression of the killer resembles none other than Eveline…

That’s a pretty hefty premise to kick off this giallo with German-shot exteriors. Director Miraglia was perhaps looking to capture the same lightning in a bottle that had made his 1971 effort, The Night Evelyn Came Out Of The Grave such a success, recasting Marina Malfatti from that particular venture. However, this cracking little thriller more than holds its own against its predecessor. Indeed, I might even suggest it’s a better, more rounded film.

Considering that, it’s a great shame that Miraglia never directed another picture after this, but he rounded off his slim filmography with a most enjoyable outing full of the required twists, turns and red herrings. If not quite the peak of the giallo form, it’s certainly a superior entry in the cycle which will more than satisfy the form’s disciples. Horror fans, meanwhile, will find plenty to enjoy in the superbly mounted and executed stalk-and-slash moments, and a water-drenched finale has more than a touch of Poe about it.

A fantastic score from Bruno Nicolai tops things off nicely. Often overshadowed by his fellow countryman Ennio Morricone, his contribution to Italian cinema should never be underestimated.

Interesting aside: The striking imagery of a killer clad in red predates Don’t Look Now by a good year or so.

MOVIE: The Killer Reserved Nine Seats (L'assassino ha riservato nove poltrone) (1974)

The Killer Reserved Nine Seats 

aka L'assassino ha riservato nove poltrone

Cinenove/Overseas Film Company 1974

Directed by Giuseppe Bennati

Starring Rosanna Schiaffino, Chris Avram, Eva Czemerys, Lucretia Love, Paola Senatore

A wealthy socialite invites a group of acquaintances away from a party and back to his country villa, within the confines of which is a grand theatre. It soon becomes apparent that the theatre is not a safe place to be, as the guests are killed off one-by-one.

A film often tagged as a giallo, and there is certainly enough of that genre's ingredients here to keep fans occupied, but as things progress its premise (clearly indebted to Agatha Christie) takes a sharp turn into more supernatural territory.

It's an enjoyable enough effort, marred slightly by some sexual violence which adds nothing to proceedings, a curious addition since the film seems somewhat generally coy about depicting the actual murders in any detail. Additionally hampering things is a hamfistedly talky screenplay, and an overly stretched final act which aims for atmosphere but leaves the remaining cast effectively wading through treacle to get to the end.

For all that, the setting is very effective and fans of the "Ten Little Indians" style of thriller will find plenty to enjoy. Sure, characters act illogically throughout, but that's nothing unusual in a film of this ilk. Good soundtrack work adds to things considerably, and there's certainly enough good set pieces to make The Killer Reserved Nine Seats worth tracking down.

MOVIE: The Complete Dr. Phibes (1971/72)

The Abominable Dr. Phibes (UK/US 1971, 94m)

Dr. Phibes Rises Again (UK/US 1972, 89m)

Both from American International Pictures

Original certificate: X, currently rated 15


In this double bill, Dr Anton Phibes (Vincent Price) starts off by seeking revenge on the medical professionals he holds responsible for the death of his wife (an uncredited Caroline Munro). Aided by his accomplice Vulnavia (Virginia North/Valli Kemp), he starts to bump them off in murders based on the Ten Plagues Of Egypt. Is chief surgeon Dr. Versalius (Joseph Cotten) being saved for last?

In the second installment, Phibes heads to Egypt in search of the secret of eternal life itself! Can he get there before rival Darrus Beiderbeck (Robert Quarry), and wipe out his expeditionary team?


Make no mistake, the Dr. Phibes films are quite unlike anything else in British horror, or elsewhere on planet Earth come to think of it. They both draw from their star's past (think House Of Wax, The Mad Magician) whilst also providing a dry run for his tour-de-force Theatre Of Blood. However, that latter masterpiece still seems decidedly earthbound in comparison with this pair, both ably helmed by Robert Fuest.

Sure, they both require massive suspensions of disbelief at times, but then it could be argued that they inhabit their own universe anyway, a strange netherworld which feeds 1920's England through an art-deco filter and embraces the dying embers of the swinging UK captured in The Avengers. There's certainly more than a touch of that series (on which Fuest worked) in the style and execution of the doctor's diabolical plans, not to mention the look and feel of the productions as a whole.

It all provides a most unusual setting for the murders, ranging from animal attacks to deaths by mechanical contraptions. You can't help but wonder what influence they may have had on the Saw movies, whose whole raison d'etre isn't exactly a million miles away from this pair.

Price is excellent as usual, but this is actually quite a different performance from him. The doctor is unable to use his mouth, speaking through an amplification device, and Vincent acts the part entirely mute, overdubbing his lines later. The effect is quite disarming, adding a surreal dash to proceedings.

This is a fine duo of gruesome, yet laugh-packed films which feature sterling support from some of Britain's finest talents. If not quite the absolute pinnacle of Price's career, they're not far off and rank with his finest works.



Blu-Ray Notes: One of Arrow's most elaborate efforts, with two custom card cases and a beautifully rendered book, housed inside a textured case reproducing the first film's famous poster art.  There are commentaries from director Fuest, creator William Goldstein and film historian Tim Lucas spread across the set, recollections from Price's daughter Victoria, plus thoughts on the film from The League Of Gentlemen. The book is a real treat, full of new writing on the films, their music and the story of American International's short lived but notable UK branch, whilst Tim Burton shares his appreciation and Caroline Munro reveals exactly why she was uncredited...

The HD transfer does show up the low budget nature of the films, but in a rather endearing way, the set design making a virtue out of necessity. Vincent Price fans are being spoilt indeed. You really need this, but be quick - this edition is limited to 3,000! Comedy Of Terrors and The Haunted Palace are promised next...

Trailer - The Abominable Dr. Phibes:

Trailer - Dr Phibes Rises Again:

MOVIE: Night Of The Lepus (1972)

Night Of The Lepus

US 1972, 88 mins, Metro-Goldwyn-Mayer

DVD: Warner Archive Collection (US import), UK Cert X (original release)


When a Texas farmer's ranch becomes overrun by rabbits, a zoologist attempts to keep numbers down by developing a contraceptive injection. However, there is an unexpected side-effect - the rabbits grow to giant size and terrorise the surrounding cattle, before developing a taste for humans...

1972 was quite a banner year for so-bad-it's-good movies. There was the quite unique brit-biker-zombie flick Psychomania, as well as the unintentional giggle-fest of lighthouse horror Tower Of Evil. Not wishing to be outdone by the British, the USA unleashed Night Of The Lepus on an unsuspecting public. Now, you might expect this to come from someone like American International, or maybe Roger Corman's New World Pictures, but would you believe that the execs at none other than MGM gave this the go-ahead?

Based on a novel entitled The Year Of The Angry Rabbit (I'm not making this up, honest), it must already have seemed quite old fashioned when first released, a throwback to the 50's cycle of science-related horror flicks. On the other hand, it may have been ahead of the game in presaging the 70's cycle of animal related horrors spearheaded by Jaws, and taking in Grizzly, The Pack, The Long Weekend and Day Of The Animals, to name just a few. But seriously... Rabbits?

It's got a solid cast: Stuart Whitman, Janet Leigh and Dr McCoy himself, DeForrest Kelley (modelling some truly shocking ties) all play it with a straight face, which is the only way to pull off this sort of thing with any dignity (how their agents talked them into it is anyone's guess). Director William F. Claxton keeps it moving on-track at such a pace that you can't help but be impressed with his efforts. His previous experience is worth noting: A prolific TV director on western series Bonanza and The High Chapparal, not to mention a few Twilight Zone episodes, his experience in working to tight schedules in desert locations helps the film no end.

There's much to commend in the technical department, too. Some very good miniature model work makes the sequences of rampaging bunnies weirdly effective, and some slow-motion camerawork gives them an eerie quality, kind of like witnessing Elmer Fudd's worst nightmare. That possibly encapsulates both the film's fatal flaw and its enduring charm. Throughout the creature attacks and the climax, you keep thinking "yes, that's very well done, but... it's a RABBIT for chrissakes!"

Still, you may accuse Night Of The Lepus of many things, but it certainly isn't boring. I'm not sure I can adequately express the sheer demented genius of it. You'll just have to check it out for yourself, preferably well oiled with some cheap wine. It's certainly become one of my go-to easter movies.



Original Theatrical Trailer (which only hints at the delights to come)

FOOTNOTE: It may be worth pointing out that I was in bed with some virus-type illness when I watched this and wrote the review...

MOVIE: Tower Of Evil (1972)

1972's Brit-horror Tower Of Evil has been released on Blu-ray in the USA by Scorpion Releasing. No sign of a UK release at the time of writing, so eager fans over here will need to get an import! For my review, I am guest writer over at SpookyIsles.com. To read it, click the poster image, or click here.

SINGLE: Lou Reed - Walk On The Wild Side/Perfect Day (1972)

UK - RCA 2303 (Nov 1972)
US - RCA 74-0887 (Feb 1973)

At the age of four, I was given my cousin's old record player. It was a small, black Fidelity portable, with a little built in speaker and a carry handle. Along with it came a few random records, passed on to me by relatives, presumably because they were worn out and couldn't be further spoilt by a four year old messing around with them.

One of them, bizarrely, was this. I had no idea what the words were about. Neither did anyone else in the UK at the time, I presume, as it was released uncut and nobody on the radio batted an eyelid. In the USA, it was trimmed down somewhat...

Along with the rest of that handful of singles, I played both sides of the record to death. To me, it didn't matter which side was the a-side. It still doesn't. It's just a perfect 7-inch single, and one of the coolest records ever released.

Oh, and when I did realise what all those lyrics were about... I couldn't believe I'd gotten away with playing it in front of my family for all those years.

I got a mint condition copy later on, but I have never had the heart to throw my original, scratched up copy in the bin. Too much sentimental value.

The music Lou Reed created throughout his life, both solo and with the Velvet Underground, would play an important part in my musical life. It still does. He could frustrate the hell out of me sometimes, but he was always, always interesting to follow and listen to. This single was where it all started for me. 

Thank you, Lou, and R.I.P.

MOVIE: Baron Blood (1972)

aka Gli orrori del castello di Norimberga (original title)

Peter (Antonio Cantafora) is in Austria in search of his ancestry. He is the descendant of Baron Otto von Kleist, a sadistic man who in his time terrorised the locals, before being burnt at the stake. Peter's uncle takes him to the Baron's castle, where Eva Arnold (Elke Sommer) shows him around the property, which is to be auctioned. At the sale, the winning bidder is the mysterious Alfred Becker (Joseph Cotten), who seems to have both a wide knowledge of and slightly unhealthy interest in the Baron's activities. Meanwhile, people are starting to get bumped off - does Becker have something to do with it?

Whilst not exactly one of Mario Bava's greatest films, there is still enough of interest to make Baron Blood worth a view. I normally side with the original European versions of his films, but in this case the AIP version for the US does tighten things up considerably, and dare I say I find Les Baxter's score in this version more effective, although Stelvio Cipriani's original score is enjoyable enough, even if his theme music is a tad 70's lounge in style.

The Viennese castle location is especially striking, and as you would expect from its director, there are several well staged set pieces. A sequence in which Elke Sommer is stalked through the fog is trademark Bava, but the sum overall is not as great as its parts. The usually reliable Joseph Cotten seems slightly ill at ease as Becker (the role had first been offered to Vincent Price), whilst Sommer also seems a little out of place. The script fails to make the most of Becker revealing his true colours: once the reveal has been made, the film seems to suddenly be over too quickly, whilst some of what has come before has perhaps gone on a bit too long.

Still, all things considered, Bava on an off day is still more interesting than a lot of directors on full steam. Recommended to his fans as an occasionally interesting entry in his canon, whilst cautiously recommended as a curio to others.

Blu-Ray Notes: Yet another solid presentation from Arrow Films. The transfer is pleasing enough, if not earth shattering, but is likely to be about as good as this film will look considering the source material. However, having the Italian, English export and US versions of the film all together is a horror buff's dream! Trailers, radio spots, a slide show of Bava on various film sets and an interview with fellow director Ruggero Deodato provide the extras.




West Germany/Italy 1972 -  Leone International/Cinevision/American International

98 Minutes (original version), 90 minutes (US version)

Certificate - 15 (UK)

Blu-Ray/DVD: Arrow Films (UK)

TV: Looking Back On... Crown Court (1972 - 1984)

In this occasional series, I look at TV shows of the past which I think are ripe for a fresh look. Whilst I'm not generally a big fan of old classics being dusted down and remade (sorry, re-imagined as they like to say these days), I do think there are a few shows which could come back to our screens and (with the minimum of tweaking) fit in nicely with the TV schedules of today. Crown Court is such a programme...

All programme images are copyright of ITV Studios, and are used purely for illustrative purposes.


So, what was it all about?
 
Originally screened on ITV and produced by Granada Television between 1972 and 1984, this gem of a programme used to sneak out at lunchtime. The premise was simple enough: Three episodes throughout the week would present a case in the fictional Fulchester Crown Court, shot in a full size mock up of a courtroom. The legal teams, defendants, witnesses et al would all be portrayed by actors, and the usual pattern was that the case for the prosecution would take up the first two episodes whilst the case for the defence and the verdict of the jury would take up the third. It was the verdict which added the real spice to proceedings. The outcome was unknown until it was actually shot, as the jury was made up of members of the public who, after a 30 minute recess would come to their own conclusion based on what they had just seen. Not only did this mean that the actors had to genuinely present their case with conviction (pardon the pun) to win the jurors over, it also meant that the actors' reactions to the verdict were genuine and spontaneous. The programmes were all shot “as live” wherever possible, and any retakes were kept to an absolute minimum. Cameras were kept generally static to avoid interfering with the action.

The simple formula made for compulsive viewing. Part of the enjoyment came from looking at the jury, and guessing what their verdict would be. If the defendant looked like they were from a working class background, but the jury looked like Granada had shipped them in from the posh end of Knutsford, it was a pretty safe bet the poor sod was going down, innocent or not...

Quite harmless entertainment, then?

Not exactly. The show was certainly not afraid of controversy or experimenting.

1976's story Ju Ju Landlord featured a case of harassment and black magic, with a mixed race jury which was bold stuff for the time. 1984's series finale had the highly incendiary title of Paki Basher, and focused on the jury deciding whether an Asian defendant, charged with attacking a Caucasian accuser, was in fact defending his own uncle from a racist attack.

At the other end of the spectrum, 1973's Christmas special Murder Most Foul presented an almost lighthearted case, complete with festive styled titles. Later on, absurdist playwright NF Simpson penned 1977's An Upward Fall, in which a home for the elderly has been built on a cliff top with the lavatory facilities located 3,000 feet below. The simple programme premise allowed for amazing scope.

Was anyone famous in it?

It certainly gave an early break to many famous faces: Richard Wilson, Maureen Lipmann and Keith Barron would regularly appear as barristers. Defendants/Witnesses included Brian Cox, Michael Elphick, Zoe Wanamaker, Nigel Havers, Ben Kingsley, Brenda Fricker, Robert Powell... I could go on all day.  Just for example...

In this clip from 1984, we see an early appearance from Peter Capaldi. The 12th Doctor Who appears to have borrowed the 11th Doctor's hairdo... The great Nigel Stock is the judge.

Why should it come back? How would it work?

It's a no brainer to me. You have the cliff hanger element of a soap, and yet a new cast and story every week whilst keeping a consistent format and setting. Logistically it could be economical to shoot, only requiring one set (each original case was traditionally shot in one day). The rotating cast and writers would keep things fresh and allow an ideal opportunity to give new talent a chance. It could work well in a primetime slot these days, provide plenty of programming for daytime repeats or ITV3, and help break the over-reliance on multiple episodes of soaps - everyone's a winner!

Has anyone tried anything similar since then?

BBC2's The Verdict in 2007 tried having a jury made up of celebrities judging in a case of a footballer accused of rape. The victim and defendants were all actors, but the barristers and judge were all legal professionals. Comparisons to Crown Court were inevitable, and it was further bogged down by current TV thinking that everything has to have celebrity panellists/contestants to get the viewers interested. It lasted four episodes, and never returned.

What would make a revamp work, then?

Well, if it ain't broke don't fix it. If any ITV commissioning editors are reading this (not likely, but still), just a few points:

a) Don't fill the show with everyone who has been killed off in a soap opera over the past three years.

b) Resist the temptation to replace the jury with telephone voting.

c) Do not, under any circumstances, make a crossover version with The Jeremy Kyle Show.

Where can I see it?

At the time of writing, seven volumes of Crown Court have been released on DVD by Network - more details here.

There also seems to be a few episodes floating around YouTube. Here's the original opening and closing titles, with the theme music: "Distant Hills", performed by The Simon Park Orchestra and featured on the b-side of their 1973 UK number 1 hit, "Eye Level (Theme from Van Der Valk)".

Label scan from 45cat.com

For those over a certain age, this will evoke memories of nipping home from school for lunch and having to miss the verdict as it came on too late, or being off school with flu/measles/chicken pox (delete as applicable).