Severin’s recent release of Buddy Giovinazzo’s fourth feature, The Unscarred (2000), on disk reconfirms this outsider as an intriguing auteur; a chamber piece in which the psychological games of four old friends grown increasingly darker is a taut, polished piece of work which sent me back to watch his raw first feature, Combat Shock (1986), again. As technically different as the two movies are, both reveal a filmmaker with a bleak view of the world tempered by a deep empathy for broken people.
Criterion’s two-disk Tod Browning’s Sideshow Shockers showcases three of the director’s best movies, including the peak of his long collaboration with Lon Chaney in The Unknown (1927) and Browning’s masterpiece Freaks (1932) along with the lesser-known The Mystic (1925). Fine 2K transfers and some illuminating extras leave you hoping that more of Tod Browning’s work will turn up on disk in restored versions.
William Dieterle’s All That Money Can Buy aka The Devil and Daniel Webster (1941) mixes self-aggrandizing national myth with a dark allegory of Capitalism in which a desperate New England farmer sells his soul to the Devil for wealth and power which he learns too late doesn’t bring happiness. Criterion’s new 4K restoration is visually stunning.
Alexandre O. Philippe’s Lynch/Oz explores the connections between Victor Fleming’s The Wizard of Oz (1939) and the works of David Lynch through interviews with six filmmakers and a critic, discovering numerous reference points though the the ways in which inspiration affects meaning remain frustratingly unclear.
Yet more wide-ranging genre viewing – from classic and modern samurai to spaghetti western and ’40s supernatural noir and ’70s hard-boiled romance, ’50s exploitation horror to Hitler, Bigfoot and haunted 12″ vinyl.
More recent viewing, with excellent restorations of classic fantasies by Arrow – Roger Vadim’s Barbarella (1968) and John Milius’ Conan the Barbarian (1982); a pair of impressive German film school projects – Tilman Singer’s Luz (2018) and Lukas Feigelfeld’s Hagazussa (2017); a couple of entertaining Australian features which mix fiction and documentary in interesting ways – Brian Trenchard-Smith’s Stunt Rock (1978) and Aaron McCann and Dominic Pearce’s Top Knot Detective (2017): and Shredder Orpheus (1990), a low-budget indie version of the Orpheus myth made by Seattle musicians and skateboarders.
Recent Vinegar Syndrome releases offer a range of genres and styles and widely varying degrees of satisfaction – there’s Hong Kong action, Indonesian horror, experimental indie sci-fi, neo-noir and feminist vigilante violence, giant rats, Biblical horror and quite a bit of sex and violence.
Time again to catalogue what I’ve been watching over the past couple of months, but haven’t yet mentioned. First, a mix of throwaway low-brow entertainment and more interesting genre movies from Severin – Italian horror spanning from the ’60s to the ’90s, some low-budget exploitation, and a box set of minor movies featuring Peter Cushing.
Before attaining international critical success with a series of cool, formally precise thrillers, Johnnie To made a pair of wildly inventive superhero movies fraught with anxiety about the approaching hand over of Hong Kong to Chinese control in 1997. The Heroic Trio and Executioners (both 1993) mix fantasy, science fiction, traditional martial arts and modern action into a potent dystopian stew centred on three of Hong Kong’s biggest female stars – Anita Mui, Michelle Yeoh and Maggie Cheung. Criterion’s three-disk dual-formal edition showcases stunning restorations by L’Immagine Ritrovata.
Satyajit Ray’s The Apu Trilogy, which follows the life of its titular character from birth to a difficult adulthood, from an impoverished rural village to India’s crowded cities, recognized as a masterpiece of world cinema, shines in Criterion’s new dual-format edition.