A predictably plotted Hammer vampire film with a decadent atmosphere, two former Playboy Playmates and a surprising amount to say about the nature of human evil.
Twins of Evil is the third and final Hammer film to be based (loosely) on Sheridan Le Fanu’s Carmilla. It is a sequel of sorts to the novella- featuring added witchhunters, satanists and of course, vampires and twins.
Mary and Madeleine Collinson star as the titular twins, Maria and Frieda Gellhorn. They travel to the small, misty ‘Central European’ Karstein village to stay with their aunt (Kathleen Byron) and witch-hunting uncle (Peter Cushing). Although the twins’ characters appear to have grown up together, Frieda speaks in foreign accented English, whereas Maria’s accent is closer to Received Pronunciation (both actresses were dubbed). This was probably done to help viewers to tell them apart. Interestingly, foreign accented Frieda is the more adventurous of the two. She soon gets drawn into the mysterious goings-on in the castle above the village.
The other two main characters are Weil (the aforementioned witch hunter) and Count Karstein (Damien Thomas).
Weil is determined to rid the village of satanic elements. Cushing, as usual, takes the role very seriously and portrays a multifaceted character torn between his obligations to God and the Brotherhood and his growing realisation that burning young women at the stake might not be the most effective way to eradicate evil. Cushing steals each scene that he is in- his increasing fear for the safety of his twin nieces is palpable.
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Chijin no Ai (知人の愛) is based on the 1924 novel of the same name by renowned author Junichiro Tanizaki. It is one of several adaptions of Tanizaki stories dealing with unorthodox relationships and sexual obsession that were directed by Yasuzo Masumura in the 1960s and 1970s. Two other notable examples are Manji (卍, 1964) and Irezumi (刺青, 1966).
The film’s story takes place in a contemporary setting, like Masumura’s adaption of Manji. This is clear from the very first frames, which show a power station that is definitely postwar and not from the 1920s. The course of the story in its new time frame spans from 1966 to 1967- with fashions and cars to match. The crisp, warm colour of the print brings out the bold colours of Naomi’s psychedelic wardrobe.
It starts by introducing Joji Kawai (Shoichi Ozawa)- a quiet, serious and bespectacled middle-aged electrical engineer. His boss berates him for never joining the employees’ social activities, nor showing interest in getting married. After some prodding he admits that he did get a pet cat.
When he gets home that evening, he starts looking for his pet. The cat turns out to be a girl called Naomi.
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Strange things happen in the middle of nowhere.
Picnic At Hanging Rock tells the story of a girl’s college in the Australian outback, forever changed by the events of Valentine’s Day 1900. Based on the novel by Joan Lindsay, three girls and a teacher go missing on a picnic to a nearby rock. Efforts to find them and the mysterious nature of their disappearance have a far-reaching effect on the local community.
It is a slow film but one with a thread of tension running through it. The nature is awe-inspiring- especially the sheer scale of the titular Hanging Rock. The panpipe music by Gheorghe Zamfir that accompanies the landscapes is used to emphasise their hypnotic beauty. In contrast, ethereal piano music is used to accompany the girls (in particular Beethoven’s Piano Concerto No. 5). Despite the peaceful soundtrack, it is difficult to relax while watching. Every few minutes, there is another tug at the string. The watch that stops working, the loud ticking clock on the headmistress’s office wall, the trancelike effects of the heat, ants crawling over hands…. All these elements come together to create a tense yet beautiful, painterly film.
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Japanese New Wave cinema of the 60s and 70s was a rebellion against established styles of filmmaking. Major Japanese film studios began to promote young assistant directors to helm their own features- about young people and aimed at the youth market. These directors would deliver a kick of creative revitalisation into Japanese cinema. They would tackle challenging themes- sexuality, political radicalism, social inequality- all against the background of Japan’s postwar identity struggle.
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“One these days, they’re going to kill 10,000 in one of these fire traps. And I’m gonna keep eating smoke and bringing out bodies. ’Til somebody asks us how to build em.” Chief O’Hallorhan (Steve McQueen), The Towering Inferno.
The Seventies was a decade where disaster movies, such as The Poseidon Adventure (1972) and Earthquake (1974), thrilled audiences with dramatic stories and special effects. Recent events in London, however, remind us that such dreadful disasters do happen in real life. The Towering Inferno (1974), the story of a 138 storey building beleaguered with deadly safety issues, has sadly never been more relevant.
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Introducing four of the best British psychological horror films from the early 60s- The Innocents, The Haunting, 80,000 Suspects and Repulsion.
……from Professor Spool’s archive
At Halloween most television and cinema schedules will be dominated by the usual ‘scary suspects’ – Dracula, Frankenstein’s monster, werewolves, Freddie, Jason and maybe even a Mummy. Such horror creations are so readily visible on the screen whether they are steeped in folklore like vampires or based on real life Jack the Ripper type serial killers.
In concentrating on these overt, bloody and often very gruesome depictions, schedulers frequently overlook the primal basis of all horror – fear itself. The very fear that lurks deep in our psyche and that can manifest itself in so many different ways. One such manifestation is that which is unseen – you may be able to sense danger, your sub-conscious may play tricks on you, the sounds you hear may add to the dread and foreboding that occupy your thoughts. What you can’t see can hurt you – it can produce irrational behaviour, questions our very sanity and understanding of what is real or a figment of our fevered imagination.
Let me now recommend four fine celluloid examples that are immersed in the very atmospheric fear I have just described. This quartet of black and white ‘mind-chillers’ were all made in Britain in the early sixties.
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An effortlessly stylish, twisty and entertaining gothic suspense. This kitsch avant-garde masterpiece from Japanese auteur Kinji Fukasaku, starring female impersonator Akihiro Miwa, has to be seen to be believed!
Read more about Black Lizard (1968, Japan) …