The Bloody Pit

Our series of shows on the films of Stuart Gordon returns with his first effort for television. DAUGHTER OF DARKNESS (1990) features Mia Sara as a young lady on a trip to Romania in search of her family history. When she meets Anthony Perkins as a glass blower who might know something about her absent father things get interesting. Soon she starts to have odd encounters with the locals who seem curious about her background with questions pointing to dark deeds in the past – the distant past! Her lifelong nightmares begin to intensify, blending flashes of details from her visits to historic buildings around Bucharest. Could those lurking creatures she keeps spotting on the streets be supernatural in nature? Is Perkins actually her father? Well, yeah. That one is pretty obvious. But the film unspools its secrets effectively and it qualifies as an underseen little gem. Troy Guinn joins John Hudson and I to dig into this nearly forgotten movie. We discuss the location shooting and the well-structured narrative. The surprise revelation about the lineage of a sweet taxi driver character is praised with nods toward the classic Van Helsing styled characters in horror fiction. We mourn the decline of Mia Sara’s career and acknowledge that this film marks one of the last horror movies from the great Anthony Perkins. There is some parsing of the one bit of nudity seen in the prints that are available and doubt that fleeting shot was broadcast on CBS in 1990. And we finish up hoping that some enterprising Blu-Ray company will see the wisdom of getting the rights to this and lavish it with special edition love. Fingers and bizarre tongues crossed! If you have comments or suggestions [email protected] is the place to send them. Thank you for listening and have a safe and happy Halloween!

Holger Haase returns to discuss a German horror film that owes a bit to American, British and Italian films of the Gothic persuasion. THE TORTURE CHAMBER OF DOCTOR SADISM (1967) is an excellent combination of the films it is borrowing from but still manages to put its own unique spin on the genre. It balances Bava-like lighting and atmosphere, Edgar Allan Poe tropes and Hammer-style costuming and sets with a forward momentum evocative of the Krimi films its director was known for. It’s a shame it wasn’t more successful so that it might have spawned a few copycats of its own. I guess we’ll just have to be happy with the colorful gem we have! Holger and I discuss the film from stem to stern including its Christopher Lee sandwich structure and his almost vampire character. The rest of the cast is of interest with the more obscure German character actors getting their moments in the multicolored spotlight. We never puzzle out why Carl Lange plays three separate roles, but we try. Both of us are impressed with the location shooting and the evil castle/laboratory sets with its many traps and pits. Holger reads Christopher Lee’s rather odd recollections about shooting this film which has both of us wondering if he had a different, more salacious production in mind. And, of course, we lament that director Harald Reinl never made another horror film considering his obvious facility for the form. And as a side note I took great pleasure in Holger’s reaction to a certain portion of the film’s score. The pain in his voice is what I imagine he would sound like trapped in a snake pit with a bladed pendulum descending toward his throat.   If you have any comments or suggestions [email protected] is the place to send them. Happy October! 

Author Mark Clark returns to start a discussion of the sequels to one of the greatest science fiction movies of all time. It is difficult to convey just how popular the Planet of the Apes series of films was in the early 1970s if you weren’t around to experience the phenomenon. The first film had been a massive hit both commercially and critically while its iconic final scene became part of the zeitgeist inspiring everything from standup comics to television advertisements to most kid’s playtime fantasies of gorillas punching disrespectful humans. The choice to make a sequel to such a well-known and well-regarded film seems like a natural thought in the 21st century but in the late 1960s it was not. And just getting everyone on board for the project was only the first problem the production encountered. We will elaborate. Somewhat.  BENEATH THE PLANET OF THE APES (1970) is generally considered one of the lesser entries in the POTA film series and both Mark and I feel this is a ridiculous common opinion. As we relate, even some of the cast and crew were less than thrilled with the final form the story took with both director Ted Post and lead actor James Fransicous trying to shift and alter things until nearly the last few minutes before cameras rolled. While flawed, the film is incredibly compelling and sports some of the best cinematic imagery of a post-apocalyptic Earth of any pre-CGI science fiction. And for those wanting to be intellectually engaged, the film seems intent on slinging idea after idea at the audience in an attempt to craft a similar effect of wide-eyed wonder the first film built. The entire affair is once again locked in place by a cast of fantastic actors giving us brilliant performances often through the award-winning ape makeup appliances. We spend a little time marveling at the villainous James Gregory as General Ursus and remain glad that he got the role instead of Orson Wells.   Needless to say, we discuss the film’s downbeat ending in detail so full spoiler warnings are in place! After all – no one was going to want to do another one of these things! Right?   If you have questions or comments [email protected] is the place to send them. Mark and I will return soon with the next POTA sequel and stir some real controversy then. Thanks for listening. 

As the swampy weather persists in Tennessee, Troy and I jump into the humid Louisiana heat to see what that knucklehead Kharis is doing. THE MUMMY’S CURSE (1944) is the last of the Universal films focused on our ancient Egyptian creature but does the series end on a high note or stumble toward the exit? We will discuss while sipping fresh Tana Tea.   Clocking in at barely an hour it would be easy to think the film could or even should be a little longer but you wouldn’t know it from the body count the movie racks up! There seems to be a race between the dusty undead Kharis and a clearly insane member of the Louisiana chapter of the Karnak cult to strangle or stab every character we like almost as soon as they turn their backs on one of the villains. This allows me to expound on my new theory of Monster Blindness that appears to afflict everyone stalked by a mummy. Have they no peripheral vision? I also question the olfactory abilities of waiting victims who must be able to at least smell the approaching cloth-wrapped worm-bait. And hang around for the most bizarre theory of all as I propose an alternate possible reason for the shift of location from New England in the previous movie – it is an odd one, believe me! Along the way we discuss wooden actors, solar powered princesses and Folger’s coffee. We cover a lot of ground and much faster than that limping mummy! If you have any comments about this movie or any other film we’ve covered on the show [email protected] is the place to send them. How would you rank the four Kharis films? Thank you for listening and we’ll be back soon.

We finally get to 1974 science fiction film written, produced, and directed by John Boorman – ZARDOZ! I’ve been putting off podcasting about this one for years because I wanted to take the time to do it right. When it was released the general reception of the film was overwhelmingly negative with critics claiming it to be deeply confusing but in the ensuing decades it has undergone a major reappraisal to become a beloved cult classic. Critics and audiences have always been sharply divided between viewing it as a profound, avant-garde masterpiece or an incredibly pretentious, muddled mess. What do we think of this ambitious work? Oh, there are so many thoughts! Randy Fox joins me to dig deeply into the layers of subtle and very unsubtly meanings floating around in ZARDOZ. Some areas of conversation prove to be shallow (Sean Connery’s costume) but others show that the film is capable of creating discussions that pose serious questions about the human condition and the societies we build. Certainly, Boorman saw the divide between rich and poor with clear eyes although his solutions seem fairly murky. As you might expect the film is shot-through with ideas and situations that seem possible only in the 1970’s with the hippie overhang of the 60’s being slowly crushed by the inevitable conservative snap-back. But time has shown that the universal concepts the film plays with linger long after the film ends. Packed with images no one had ever conceived before or since, the film must be experienced at least once to determine if it will resonate with your mind. And I need to stop searching for my own private Vortex – with or without Charlotte Rampling! Although I could use a giant floating head for my work commute.   We would love to hear your Second Level thoughts on ZARDOZ or any other film we’ve covered on the show. The address to write is [email protected] and we’re open 24/7/365. Join us in the mirror maze!

Our series following the films directed by Stuart Gordon continues with ROBOT JOX (1990)! After three horror films in a row this is certainly a left turn for the man best known at the time for inventive, darkly humorous gore. The intended audience for this one is very different as the film aims for a broader appeal without quite so much blood and dismemberment. Instead, we get giant robots fighting for territory in a post-apocalyptic world. You know – family friendly! Other than the drinking and brief nudity. And we should issue a spoiler alert as we talk about nearly everything up to the end credits. John Hudson and I gather around his dinner table with Troy Guinn joining us in a brand-new way. Next time we may have to use a Quija board! We discuss the production of the film and the hardships encountered in crafting the special effects. The cast and their backgrounds are part of the conversation with Gordon regulars getting shout outs for their welcomed return. We talk a little about screenwriter Joe Haldeman and recommend a few of his excellent science fiction novels. The obvious similarities to PACIFIC RIM (2013) are discussed along with another key comparison to director Guillermo Del Toro’s career. So join us for dubious Russian accents, stop-motion animation and men beating each other to death for the joy of the soon to be squished crowd. Oh – and a very suggestive chainsaw! Whew.   If you have any comments about the films of Stuart Gordon or anything else we’ve covered on the show [email protected] is the place to send them. Thank you for listening and we’ll be back soon!

Among the hidden European cult cinema subgenres, the German Western is one of the least well explored outside of its country of origin. While every film fanatic could list off his favorite Italian westerns most would give a blank stare when quizzed about the German variety. The most successful German Westerns are the adaptations of adventure novels by 19th-century author Karl May. These films usually feature Winnetou, a noble Apache chief, and Old Shatterhand, his white American scout blood brother. In the hopes of drawing attention to these fine movies we present this episode focused on the first big budget Karl May western adaptation from 1962. Author Holger Haase joins me to dig up the TREASURE OF SILVER LAKE! Unlike many of the dozen or more follow up films in the series, it is available with an excellent English dub making it easy for new American audiences to absorb it. The film rewards the viewer with glorious widescreen color vistas that put many similar productions of the times to shame. The movie introduces Lex Barker as Old Shatterhand and Pierre Brice as Winnetou setting the successful series on its way even as it mangles and twists the source material into shapes more pleasing to the big screen than the printed page. It is an hour and forty-five minutes of action, gunfights, chases with villainy provided by the dastardly Herbert Lom as a murderous bandit intent on gaining the titular treasure. We discuss numerous aspects of the film, take a trip through a lengthy plot synopsis and make fun of a few oddities that German audiences would not have noticed. It’s a fun time! If you have any comments about this film or German westerns in general [email protected] is the place to send them. We’d love to hear from you. Thanks for listening.

John Hudson and I take on a classic Blaxploitation film!   TRUCK TURNER (1974) stars the great Isaac Hayes as the titular character, a modern-day bounty hunter in Los Angeles. Along with his partner he tracks down people for bail bondsmen which is a far more dangerous job than you might expect. Sadly, this is the only lead role Hayes was ever afforded and it was offered to him so the producers could also get him to provide the film’s score. Luckily for fans, he handles both creative opportunities well. In fact, I find the music he supplies for this film to be superior to his Oscar winning SHAFT score. Check it out and let us know what you think. There has been an ongoing conversation about the best Blaxploitation films for decades but nearly every fan will put this film in their top five. It plays like a western set in the 1970’s with bad guys getting their comeuppance in suitable, violent ways. The story is fast paced and exciting with plenty of colorful characters peppering the trail Truck follows while dealing with scumbags. The film was originally written for a very different cast in mind but, once the change was made, the collaborative spirit of the production made for a satisfying film. Besides Hayes as Mack ‘Truck’ Turner the cast is stacked with excellent character actors such as Scatman Crothers, Charles Cyphers, Dick Miller, Sam Lewis and a brilliant villain role for the great Yaphet Kotto. Plus, if you ever wondered what it would be like to see Lt. Uhura from Star Trek whip a stable of prostitutes into line, this is your chance. Whew! If you have any comments about this movie or any other film we’ve covered on the show [email protected] is the place to send them. Thank you for listening and we’ll be back soon. 

DESTINY (1944) is easily among the most hidden cinema efforts of the 1940’s. It has had no legitimate video release of any kind and hasn’t been shown on television in decades which means it is difficult to find and nearly impossible to stumble across. We consider that a shame because the higher quality elements of the film are well worth seeing. Constructed from a discarded segment of an anthology of supernatural tales and paired with newly shot noirish footage to bring it up to feature length it is an odd viewing experience. Join Troy Guinn and I as we discuss the film’s high points and odd plotting choices while marveling at the amazing work done in final act of the story. We talk a bit about the actors with some time spent on the familiar faces from Universal’s roster of supporting thespians. The film’s attempt to craft a story to use the existing footage is pulled apart and examined for its various flaws including the evolution of the main character from dopey patsy to murderer and rapist. We stare longingly into the sightless eyes of the lovely Gloria Jean and wonder how such a perceptive young woman could miss noticing the obvious louse that blunders into her home. And while both of us wish the story had remained in FLESH & FANTASY (1943) where it belongs, we would still pay good money to see a crisp Blu-Ray of this strange effort to salvage money the studio had already spent. What do you think of DESTINY (1944)? Drop us a note at [email protected] with any comments or suggestions. Thanks for listening!

David Annandale and I walk back down Poverty Row just after the attack on Pearl Harbor to watch one of the most confusing and strange attempts at wartime propaganda a low budget studio could produce. BLACK DRAGONS (1942) has Bela Lugosi as a mysterious, menacing man who seems to be on a mission of revenge. But what does he have to do with the corpses that keep popping up on the steps of the Japanese embassy in Washington? Will FBI agent Clayton Moore be able to figure things out or will he spend his time chasing Joan Barclay around her uncle/father’s house until all the characters are dead? And how does David find a way to link Christopher Nolan and Bela Lugosi? Listen and learn! BLACK DRAGONS is probably the oddest of the nine films Lugosi made for Poverty Row film producers and certainly the one with the most unintentionally funny dialog. Just as it was about to go into production the decision was made to shoehorn in topical plot elements ripped from the headlines. This means that the original reason behind events in the script has been lost leaving bits of their probable supernatural nature flapping around in the film. This is the only explanation I can imagine for the never addressed ability of Lugosi’s Monsieur Colomb to seemingly teleport in and out of moving taxicabs! But David has an interesting take on the film as a bizarre treatise on the subject of ‘acting’ both onscreen and within the structure of the story. His idea is a bold way to look at the picture as a whole and certainly makes it more entertaining as you try to figure out what the hell is happening at any point in the film’s hourlong running time. Rarely has such a barely planned collection of quirks and gaffs been so mesmerizing! If you have any comments about this movie or any other film we’ve covered on the show [email protected] is the place to send them. Thank you for listening and we’ll be back soon.