Purana Mandir

Purana Mandir (1984)

Runtime: The version I saw was around 139 minutes

Directed by: Shyam Ramsay/Tulsi Ramsay

Starring: Mohnish Behl, Arti Gupta, Puneet Issar, Sadashiv Amrapurkar, Anirudh Agarwal

From: K.R. Enterprises

This sure was an 80’s Indian horror film. The hope was to see something in the genre from India this year; it’s a shame that none of the titles in Mondo Macabro’s Bollywood Horror boxset (devoted to the films of the Ramsay family, who were dominant in this genre for about 20 years) are available for legal streaming anywhere. It took a random YouTube account uploading a version w/ subtitles for me to check it out.

It features various horror hallmarks. A king beheads a demon and separates the head far away from the torso--but not before the demon curses the family for time immemorial that all the women die during childbirth. In modern times, this is why dad doesn’t want daughter to date, although her lover is of a lower class anyhow. She and her beau go to the haunted palace (the movie’s title in English) as they feel the legend is poppycock. However… there are jump scares, frightening-looking images, a black cat, dark foggy nights, a ghostly painting, a buff mustached shirtless pal of the beau that does one-armed pushups by a lake… OK, that last part you can only find in cinema from this country. I was utterly delighted that even this featured a buff macho man who beats up multiple foes at once… & on more than one occasion.

I should have suspected that there’d be more than one random subplot involving completely random characters that had little to do with do w/ the main plot; regrettably, the most egregious one involves a rather rape-y dude and thankfully he only appeared in a few scenes. What I did accurately predict: the broad comedy & the musical numbers! Oh, those were a hoot. The first number was done in a club featuring posters of Elvis and Christopher Reeve as Superman.

The film’s demerits weren’t enough to prevent me from giving it a nice rating. Bad “comedy” aside, the horror scares were done well enough and the “Indian cinema” moments usually landed. From hearsay, this picture was a massive hit and in fact propelled the careers of the Ramsay family. It also added variety to Spooky Season this year.

 

Dinner at Eight

Dinner at Eight (1933)

Runtime: 111 minutes

Directed by: George Cukor

Starring: An all-star cast

From: MGM

I needed more variety this October. Thus, a visit to the Criterion Channel and their current section on women writers of ‘30’s films (Frances Marion for Dinner at Eight) was in order. For literally years, I’ve put off giving this film a shot despite knowing it was a highly-regarded MGM picture w/ an all-star cast. After finally pulling the trigger, it was a delightful motion picture.

Admittedly, its stage origins are obvious. There are plenty of LONG scenes featuring two or three characters talking to each other. It was mostly irrelevant to my enjoyment. Billie Burke is going to hold a big dinner party where the guests of honor are “the richest couple in England” visiting NYC and the other guests are distinguished types. The film is not flaunting the lives of the rich & famous. Rather, they are presented as experiencing plenty of difficulties during the Great Depression. Afterall, Burke’s husband Lionel Barrymore is a shipping magnate but his company’s in dire straits. Furthermore, there’s the likes of affairs, squabbles and washed-up actor John Barrymore that the viewer experiences even before the day of the titular dinner.

What a cast. Among others, there’s also Wallace Beery and Jean Harlow as a rather “earthy” couple, Lee Tracy, Edmund Lowe, Jean Hersholt… but a highlight was finally getting to view stage/silent star Marie Dressler in one of her last roles. She was delightful as a haughty stage & screen star. It was a comedic drama which has at least one shocking dark moment but also delivers a nice amount of chuckles and laughs.

The ending felt abrupt at first, then on contemplation the conclusion made more sense for the overall plot and all the subplots. It was still an entertaining yarn which juggled the panoply of characters rather well. It does conclude w/ an amazing dialogue exchange between Harlow and Dressler that I dare not spoil. Starting in November I might view more Pre-Code than I have the preceding few months.

 

I Finally Viewed Mr. McMahon

In my first of two posts today, I discuss last month's Netflix 6 part series: 

My rating is based on my viewing this as someone who is a massive fun of pro wrestling’s inner workings. I haven’t seen the modern product in MANY years (for a variety of reasons) but I still follow the behind-the-scenes drama so yes I’ve known for years that Vince McMahon had done many bad things. That said, the accusations that Janel Grant made against McMahon-the court filing can be easily found online-are WAY too graphic and triggering to mention here-but it’s mentioned in Episode 6-and it certainly made me look at him in a worse light.

As I figured even before this was released, this documentary (which originally had WWE involvement before they left) would be more for the casuals than the nerds who already knew everything in the six episodes, like I did. It was nice to hear Vince present his version of the truth-believe me, it’s not always what actually happened-and hear from the rest of the family, not to mention all the photos and behind-the-scenes footage that hadn’t been made public before. Ultimately, there were few surprises or revelations in the six episodes, each around an hour long. Perhaps that shouldn’t be a surprise, especially given the announcement earlier in the year that the WWE’s stalwart program (Monday Night Raw) will move to Netflix come January, 2025.

That said, it was a blast from the past reminiscing about what I watched in my youth and seeing that footage from “the good old days.” For those not as familiar, it will be an eye-opener; some jaw-dropping comments were made, but those were stories I heard long ago. It’s not a surprise that some things were alluded to that were never addressed in detail by McMahon, such as some alleged horrific abuse suffered as a child. For a long time now I’ve wished for a biography on him where all the rumor and conjecture about him was addressed, not to mention a detailed chronicle of his bizarre life. The dream is always there…

A Bucket of Blood

A Bucket of Blood (1959)

Runtime: 65 minutes

Directed by: Roger Corman

Starring: Dick Miller, Barboura Morris, Antony Carbone, Julian Burton, Ed Nelson

From: AIP

I’m usually down for an evisceration of the pretentious art scene. I can’t say “always” because while I’ve never seen Velvet Buzzsaw, the reviews plus the lead character’s name MORF VANDEWALT… no thank you, I’ll pass. On the other hand, a Roger Corman film that plenty say is among his best, has a rare starring role for the legendary Dick Miller and is only barely an hour long: yes please. It shouldn’t have taken until late 2024 to tackle this but better late than never.

Specifically, this takes the piss out of beatniks. Miller is Walter, a square busboy in a café where bizarre paintings and even more bizarre beat poetry is heard. He attempts to create sculptures of his own, chiefly to impress an attractive regular. Then, a cat enters the scene… yes, a feline death occurs. It does kick-start the plot; Walter’s “art” becomes increasingly macabre and he’s copping a bit to impress those hipsters.

For a horror-comedy that’s a satire, it’s key that a movie delivers plenty of laughs; thankfully, this did just that. The skewering of those ostentatious fools was successful. It was well-directed for a shoot that only lasted 5 days in length and appropriately for the setting, contained a jazz soundtrack worthy of going ape for. However, Miller as the cool cat is for certain the standout. He’s always sympathetic even when he’s committing some rather dark acts. Oh yes, A Bucket of Blood becomes grim at times.

If you aren’t a jive fool and think that life is more than an obscure hobo, the movie’s worthy of viewing on YouTube.

 

Poltergeist... Both the Original & the Putrid Remake

I revisited the 1982 classic Thursday night, and last night the remake that was even more awful than anticipated:

I’m so old, I remember when TV stations used to go off the air late at night.

Last night I revisited this film on Turner Classic Movies; it was reviewed before way back in 2017. Poltergeist has been experienced a few times before in my life, including once at a revival screening presented nationally for one night via Fathom Events or a similar entity; thankfully its enjoyment & its impact has not diminished.

A key aspect in being enraptured w/ Poltergeist: it’s incredibly easy to root for the likable Freeling family that are the leads-even the children of the family delivered quality performances… and had the misfortune to live in a house built on an unfortunate spot. The supporting characters are all interesting, including the parapsychologist and especially the medium portrayed by Zelda Rubinstein; talk about a colorful role. The effects still hold up-obvious animation at times notwithstanding-and the movie is never dull despite taking its time because you’re invested from the beginning.

It's not fair to the movie to either dwell on “the curse” allegedly attached to the trio of films (the tragic deaths of two of the kids are nothing more than that, tragic happenstance) or even who authorship of the movie really should be tied to. Spielberg’s fingerprints are naturally over the film but as even those who worked on the film don’t agree (at least publicly) who directed what… it overshadows an effective horror blockbuster that was a hit at the time & the ghostly tale still has the power to terrify in 2024.

As there’s also a great Jerry Goldsmith score, I’m glad to have had that theatrical experience oh so long ago. It did not need to be graphic (the scene w/ the mirror excluded) or R-rated to satisfy genre fans.

Poltergeist (2015)

Runtime: I saw the extended 100-minute cut

Directed by: Gil Keenan

Starring: Sam Rockwell, Rosemarie DeWitt, Jared Harris, random child actors who weren’t directed well

From: 20^th Century Fox/MGM

Did people in the Amish community write the script?

There is no logical explanation as to why I decided to view this crummy remake when the average rating/general opinion of this picture was that of putrefaction. If there’s any solace in my lousy decision-making, the warning can be spread to avoid the film. BTW, it was decided to view this before revisiting the OG Poltergeist the previous night.

The Freeling family in 1982 were effortlessly charming. They were typical and the parents smoking pot was not a big deal, as they must have started during the hippie era of the late 60’s. It was a loving bunch and no one was irritating. The Bowen family here, in contrast… the very first scene was them in their minivan, driving to their new, shabby home that was a downsize purchase because dad lost his job.

Immediately, they were proven to be abrasive, annoying people who were created as such by both the typical bad modern “writing” we unfortunately have received in recent years and modern “humor.” I was appalled to hear the parents bemoan their own children late in the first act. I’m supposed to enjoy them like I did Craig T. Nelson and JoBeth Williams in the 1982 movie because…? It did not take long for me to be fed up with them.

If that wasn’t bad enough, compounding the problem is that all the scares echoing the original are pale imitations, and the original scares are also pathetic unless you feel that jump scares are the piece de resistance of the genre. The usage of electricity as one of the physical manifestations of these spirits didn’t do much for the story, either—except to make me guffaw at imaging this as the ultimate horror for the Amish!

You know, I don’t know of too many horror films involving that sect of people (or knock-offs) aside from Deadly Blessing; speculating about films involving the Amish and electricity would have been a better usage of my time than focusing on a pathetic pastiche of a movie that proved to be awful if it was needlessly updated for “modern audiences.”

Not even the most highly-regarded members of the cast-Sam Rockwell, Rosemarie DeWitt, Jared Harris-could do much to save this disaster. There’s no further need to dwell on a film that likely will disgust those that love the 1982 original.

A Hurricane Milton Update

So, here’s the update on me surviving Hurricane Milton. Instead of viewing any films last night, I rode the storm out like REO Speedwagon and like with all the other hurricanes I’ve experienced in the 20 (!) years I’ve lived down here, there’s never been any major damage done. Heck, the power only went out once, and it was for less than 10 seconds. Living near Orlando in the middle of the state likely mitigates the most serious damage but even when hurricanes have passed right over me in the past, it’s not been disastrous.

More importantly, everyone I know down here (including those living near Tampa, which was hit real hard) appear to be fine themselves. Uncertain if I’ll view anything tonight-I am exhausted now-but if not, Saturday afternoon I’ll return w/ a new review.

All You Need is Death

All You Need is Death (2023)

Runtime: 96 minutes

Directed by: Paul Duane

Starring: Simone Collins, Charlie Maher, Catherine Siggins, Nigel O’Neill, Olwen Fouere

From: XYZ Films

… death is all you need

I don’t plan on viewing too many modern films for Spooky Season this year. Given my general opinion of modern movies, I am OK w/ this scenario. The reasons why I chose this Irish film: the plot description was different/intrigued me, and the film has had some rather nice art attached to it. Thus, among the vast selection on Shudder, this was what was selected. What I got was… unexpected.

The first half was strong. You have to accept the idea that the world of collecting old obscure folk songs is a business in Ireland that pays in cash but it’s done in clandestine fashion… no, really. Otherwise, I rolled with the young couple who did just this; they make recordings surreptitiously, which did make me laugh. When an old ancient song is recorded despite being forbidden to do so—of course, big mistake. It can be seen as a message to not bootleg live singing.

The first half of the movie was preferable to the second half; the latter portion not only has the languid pacing slow down even more-it never became dull to me but it may to many others-it just became weird. The turn the story takes was rather unexpected although it did fit into the movie’s lore. The conclusion… it was wild, for certain—it also made the journey feel worthwhile.

My misgivings aside, the film can still be deemed “good” by myself. I understand the budget was quite low; this doesn’t always impact my rating but I’ll note the movie didn’t suffer due to a lack of funds. The cast full of mostly unknowns to me were all satisfactory; the one name I knew was Olwen Fouere in a supporting role. The singer brother of Brendan Gleeson appears in a scene to belt out a lovely folk song; it’s the first I knew of Barry Gleeson. Thankfully in a film such as this, the songs, score and sound design were all quality. Note that this does NOT apply to the scream-o rock song during the end credits…

Plenty will be more ambivalent about the film but the premise and execution was enough to win me over.