Wrestling Women vs. the Aztec Mummy, The (1964)

Wrestling Women vs. the Aztec Mummy, The (1964)

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“I can see the Black Dragon’s plan now! He’s using the process of elimination to get to the one who has the scripture!”

Synopsis:
Female wrestlers Gloria Venus (Lorena Velazquez) and Golden Rubi (Elizabeth Campbell) help their boyfriends (Armando Rios and Chuco Salinas) fight against evil villain Prince Fujiyata (Ramon Bugarini) for the possession of a codex which will lead them to ancient Aztec treasure.

Genres, Themes, Actors, and Directors:

  • Amateur Sleuths
  • Gold Seekers
  • Horror
  • Mummies
  • Strong Females
  • Wrestling

Review:
Listed as a Camp Classic in the back of Peary’s book, this bizarrely-titled Mexican horror film is, unfortunately, a tedious bore. We’re reintroduced to the likable heroines from Doctor of Doom (1963), who once again must use their inimitable wrestling skills to help save the day — but the plot this time around is lame, full of offensive stereotypes of “evil Orientals”, and padded by contrived wrestling scenes. The “Aztec mummy” doesn’t appear until the final section of the film, when things rapidly shift into supernatural mode; fortunately, the cinematography at this point is atmospheric enough to provide a few (laughable) chills at long last. Overall, however, it’s a snooze.

Redeeming Qualities and Moments:

  • The atmospheric horror scenes down in the mummy’s crypt
  • Awful dubbing

Must See?
No. Although this film is more famous (and has a better title) than its prequel, it’s ultimately much less enjoyable. Only watch this one if you’re a true fan of badly-made female wrestling films.

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Doctor of Doom / Luchadoras Contra el Medico Resino, Las (1960)

Doctor of Doom / Luchadoras Contra el Medico Resino, Las (1960)

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“Don’t you believe that we’d achieve better results from a superior brain, with a high IQ, from a young and intelligent woman?”

Synopsis:
Two female wrestlers (Lorena Velazquez and Elizabeth Campbell) join forces with the police to find a mad, luchadora-mask-wearing doctor who has been terrorizing the city.

Genres, Themes, Actors, and Directors:

  • Amateur Sleuths
  • Mad Doctors and Scientists
  • Serial Killers
  • Strong Females
  • Wrestling

Response to Peary’s Review:
Peary’s an enormous fan of this “poorly dubbed laugh riot”, calling it his “favorite Mexican horror movie”, and providing a humorously droll synopsis: “The ‘Mad Doctor’ is obsessed with performing brain transplants. Unfortunately, they invariably fail.” It’s certainly not for all tastes, and is so bad (in so many ways) that you may groan more than you laugh — but there’s something endearing about the sight of strong women wrestling their way to the top, beating up bad guys when their boyfriends wimp out, and joining forces like a true superhero duo. Many watch this film for the extended female wrestling scenes (which become tedious if you’re not a fan), but its primary enjoyment (such as it is) really comes from the AWFUL dubbing. Dear lord.

Redeeming Qualities and Moments:

  • Gloria Venus inviting Golden Rubi to come live with her: “My new apartment is large, and you must be lonely…”
  • Refreshingly strong female leads
  • Hilariously bad dubbed dialogue

Must See?
Yes, simply as a representative (and occasionally enjoyable) example of badly dubbed Mexican horror/wrestling films.

Categories

  • Historically Relevant

Links:

War Game, The (1965)

War Game, The (1965)

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“The blast wave from a thermo-nuclear explosion has been likened to an enormous door slamming in the depths of hell.”

Synopsis:
In post-nuclear Britain, citizens suffer from third-degree burns, post-traumatic stress, and lack of adequate supplies.

Genres, Themes, Actors, and Directors:

  • Living Nightmare
  • Mockumentaries
  • Nuclear Holocaust
  • Peter Watkins Films
  • Post-Apocalypse

Review:
Peter Watkins’ fictionalized docudrama was deemed too controversial for airing on BBC television, but was given a theatrical release, and received an Oscar for best “documentary” in 1967. This hypothetical vision of a post-apocalyptic nightmare — including lack of sufficient food or medicine, military rule, and hideous physical symptoms — remains just as powerful today as it must have been 40 years ago, when the threat of nuclear war was even more imminent. The film’s narrator continually reminds us that although what we’re watching isn’t real, it’s based on extensive research; again and again, we learn that the awful symptoms shown on-screen are what actual victims in Japan and Germany experienced during WWII. While it’s tough to sit through even at just 50 minutes, The War Game remains perhaps the single most effective cautionary film ever made, and merits at least one viewing by everyone.

Redeeming Qualities and Moments:

  • Countless unforgettable images
  • A truly frightening vision of a post-apocalyptic world

Must See?
Yes. This powerful film should be must-see viewing for everyone, not just film fanatics.

Categories

  • Controversial Film
  • Oscar Winner or Nominee

(Listed in 1001 Movies You Must See Before You Die)

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Grandma’s Boy (1922)

Grandma’s Boy (1922)

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“Daybreak stings the boy with the realization that he is helpless, hopeless and useless — a weakling.”

Synopsis:
A cowardly nebbish (Harold Lloyd) is assisted by his feisty grandma (Anna Townsend) in gaining the courage to pursue a murderous tramp (Dick Sutherland), and fight against his lifelong rival (Charles Stevenson) for the hand of his sweetheart (Mildred Davis).

Genres, Themes, Actors, and Directors:

  • Character Arc
  • Comedy
  • Love Triangle
  • Silent Films

Review:
Harold Lloyd’s first full-length film holds up surprisingly well today. In addition to plenty of amusing sight gags, it possesses a cohesive narrative, a sympathetic protagonist, and a refreshing character arc, as “Grandma’s boy” shifts from a simpering ninny to a self-confident young man worthy of our admiration. Apparently Charlie Chaplin was a fan of this film, noting, “It is one of the best constructed screenplays I have ever seen on the screen.”

Redeeming Qualities and Moments:

  • Anna Townsend as Lloyd’s concerned grandma
  • The amusing Civil War “flashback” scene
  • Clever inter-titles: “One of those slow towns where the Tuesday morning Express arrives Wednesday afternoon. If Monday’s train gets out of the way.”

Must See?
Yes. While not as famous as either Safety Last! (1923) or The Freshman (1925), this holds interest as Lloyd’s first full-length film. Listed as a film with Historical Importance and as a Personal Recommendation in the back of Peary’s book.

Categories

  • Historically Relevant

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Movie Crazy (1932)

Movie Crazy (1932)

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“Ninety-nine out of a hundred fail out here, just because it ain’t their game. So take my advice and blow home.”

Synopsis:
A klutzy aspiring actor (Harold Lloyd) is accidentally summoned to Hollywood for a screen test, where he fails to impress producers but falls in love with an actress (Constance Cummings) and one of the characters she plays.

Genres, Themes, Actors, and Directors:

  • Aspiring Stars
  • Comedy
  • Harold Lloyd Films
  • Hollywood
  • Mistaken or Hidden Identities

Review:
While Movie Crazy is generally regarded as one of Harold Lloyd’s best “talkies”, it’s ultimately a disappointment. Despite several amusing sequences, the screenplay as a whole rambles on for too long, diverging from its initial premise and suddenly shifting into a rather ordinary tale of mistaken identities and romantic difficulties. This is not one of Lloyd’s greatest films, and falls flat in comparison with his earlier masterpieces. Watch The Milky Way (1936) instead if you’re curious to see Lloyd in a reasonably successful non-silent film.

Redeeming Qualities and Moments:

  • Lloyd’s bungled attempts at being an extra
  • The extended “magician’s coat” sequence
  • Constance Cummings as Lloyd’s dual love interests

Must See?
No; this one ultimately isn’t must-see viewing.

Links:

At War With the Army (1950)

At War With the Army (1950)

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“I know you’re a sergeant and I’m only a private. The least you could do is be a little friendly!”

Synopsis:
A private (Jerry Lewis) and a sergeant (Dean Martin) deal with bureaucracy and mishaps in a WWII army training camp.

Genres, Themes, Actors, and Directors:

  • Comedy
  • Dean Martin Films
  • Jerry Lewis Films
  • Military
  • Play Adaptation
  • World War II

Review:
Based on a play by James Allardice, At War With the Army was Jerry Lewis and Dean Martin’s first starring vehicle together, and thus holds a unique place in film history.

On its own merits, it comes across as a mildly amusing — though often stagy — spoof of military rigmarole, along the lines of Joseph Heller’s Catch-22. Lewis and Martin don’t have enough screen time together, but each performs admirably on his own: Lewis is as wacky as ever:

and Martin is appropriately suave. An ongoing sub-plot about a beautiful but dumb pregnant woman (Jean Ruth) trying to get ahold of former-flame Martin leads to a satisfying, unexpected conclusion.

Redeeming Qualities and Moments:

  • Jerry Lewis as Alvin Korwin
  • A clever skewering of military bureaucracy and hierarchies

Must See?
No, though it’s notable for its historical status as Lewis and Martin’s first film together.

Links:

Invitation to the Dance (1957)

Invitation to the Dance (1957)

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Synopsis:
Gene Kelly directs three wordless dance vignettes: in “Circus”, Pierrot (Gene Kelly) longs for a beautiful dancer (Claire Sombert) who is already in love with an acrobat (Igor Youskevitch); in “Ring Around the Rosy”, a bracelet passes hands from a wealthy husband (David Paltenghi) to many others, including a prostitute (Tamara Tournanova); and in “Sinbad the Sailor”, a sailor (Kelly) and a young genie (David Kasday) dance with animated figures from the Far East.

Genres:

  • Dancers
  • Ensemble Films
  • Gene Kelly Films
  • Love Triangle
  • Sailors

Review:
This creative undertaking by Gene Kelly — a movie told just through dance and music, with no words — was filmed in 1952, but didn’t reach audiences until 1957, when it failed to recoup expenses; today, it comes across as a reasonably enjoyable experiment. The middle segment — “Ring Around the Rosy” (likely inspired by Ophuls’ La Ronde) — is especially well-done, and moves along at a fast clip. The first vignette — “Circus” — is the artiest, and the least interesting story-wise (though the dancing and visuals are arresting). The final story — “Sinbad the Sailor” — is guaranteed to appeal to those who enjoy live action-animation combos, but its decidedly “Orientalist” bent is dated and mildly offensive. Ultimately, this one is not for all tastes. but remains worthy viewing by all film fanatics as a unique entry in cinematic history.

Redeeming Qualities and Moments:

  • Gene Kelly as Pierrot
  • The enjoyable middle sequence
  • David Kasday as the Little Sailor/Genie
  • Creative choreography throughout

Must See?
Yes, simply for its historical relevance.

Categories

Links:

Seventh Veil, The (1946)

Seventh Veil, The (1946)

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“The human mind is like Salome at the beginning of her dance: hidden from the outside world by seven veils, layers of reserve.”

Synopsis:
A suicidal concert pianist (Ann Todd) — raised by a demanding, enigmatic guardian (James Mason) — is hypnotized by a psychiatrist (Herbert Lom) who hopes to uncover the root of her neurosis.

Genres:

  • Flashback Films
  • James Mason Films
  • Mental Breakdown
  • Mind Control and Hypnosis
  • Musicians
  • Psychotherapy

Review:
The Seventh Veil was immensely popular upon its release, with British audiences attending screenings in droves. Today, it comes across as somewhat dated (the theme of hypnosis as a magic cure for one’s ills is especially laughable), but remains a compelling, almost compulsively watchable tale. Unfortunately, Todd was much too old to be playing her character at the age of 14 (a younger look-alike should have been used), though she’s fine in later scenes.


Meanwhile, Mason is as dark and brooding as always, and perfectly cast.

Redeeming Qualities and Moments:

  • An intriguing, well-told story of dominance, love, and psychosis
  • Atmospheric cinematography

Must See?
Yes, due to its historic popularity.

Categories

Links:

Fantastic Invasion of Planet Earth, The / Bubble, The (1966)

Fantastic Invasion of Planet Earth, The / Bubble, The (1966)

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“It’s a wall made out of glass — it’s the screwiest thing I ever saw!”

Synopsis:
A man (Michael Cole) and his pregnant wife (Deborah Walley) ask their pilot (Johnny Desmond) to make an emergency landing in a strange town, where the inhabitants act like zombies. Soon they realize that they are trapped inside a glass bubble, and must find a way to get out.

Genres:

  • Arch Oboler Films
  • Escape
  • Mind Control and Hypnosis
  • Science Fiction

Response to Peary’s Review:
It’s not clear why Peary includes this tedious film in his GFTFF, given that he acknowledges its “weak acting and lackluster production”, notes (appropriately) that the “characters seem to just wander about… as if they were waiting for someone to finish the script”, points out that it’s “full of bad conversation that’s meant to be profound” (“Are we really here? Or is it some kind of a crazy dream?”):

… laments that it’s “much too long, even in [its] shortened version”, and labels the ending “unsatisfying”. In addition, because the movie was filmed in 3-D, it’s full of contrived, laughable shots of objects floating in the air, and characters pushing items out towards the camera. In short, writer/director Arch Oboler takes a reasonably interesting premise, and somehow fails to generate any drama at all.

Redeeming Qualities and Moments:

  • Not much of anything

Must See?
No. While it holds some historical interest for its gimmicky use of “stereoscopy” (i.e., 3-D cinematography), this film is simply too tedious to recommend.

Links:

In the Devil’s Garden / Assault / Tower of Terror (1971)

In the Devil’s Garden / Assault / Tower of Terror (1971)

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“He has a psychopathic disregard for human life.”

Synopsis:
An art teacher (Suzy Kendall) at a girls’ school in London catches a glimpse of the man who raped two of her students and murdered one of them. With the help of Detective Velyan (Frank Finlay) and a reporter (Freddie Jones), she sets a trap to try to bait the killer.

Genres:

  • Detectives and Private Eyes
  • Murder Mystery
  • Rape

Review:
This British slasher flick (known as The Creepers in the U.K.) will primarily be of interest to either fans of the genre, or those who enjoy watching teenage girls in skimpy school uniforms. While it’s difficult to guess who the real killer is here, it’s also difficult to care much one way or the other. Kendall is a beautiful leading lady, but she’s given such unoriginal scenes to walk through that she doesn’t leave much of an impression.

Redeeming Qualities and Moments:

  • A competent, if uninspired, tale of killer-baiting

Must See?
No. Though Peary lists this as a Cult Movie in the back of his book, it’s certainly not must-see viewing.

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