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Hammer House of Mystery and Suspense: The Sweet Scent of Death (1984)
The sweet scent of the classic thriller
Another great episode from the remembered series "Mystery", possibly the most classic in tone, both for its structure and plot and for the staging. And it is that seeing those responsible for this chapter is completely logical, since we have Peter Sasdy ("The Ripper's Hands") -another one of the star directors of the Hammer- behind the cameras, and as responsible for the script no less that to the great Brian Clemens, author, among others, of the scripts of those two gems of psychological terror that are "And Soon the Darkness" and "Blind Terror"; in addition to being the creator of the excellent series "Thriller", also in a style very similar to that of those films. As expected, all this can be seen in "The Sweet Scent of Death" and although it is always something to be grateful for, it is also too noticeable that we are dealing with something familiar. Faced with something that any fan of psychological thrillers of the Hammer knows well. This implies that, despite the fact that the reasons for the events are very well elaborated by Clemens, the twists and surprises that exist in the story are seen coming from afar and that the outcome is somewhat predictable. All in all, Sasdy's handling of the key sequences and especially of the final climax, balances that predictability quite well and manages to raise interest so that the story does not decay at any time. If we add to this a good cast with a handful of effective performances, the end result is even remarkable. And is that the cast has an undeniable appeal: Shirley Knight ("The Sender") is the female lead on whom all threats hang. Beside her and as a husband is the other American from this episode, Dean Stockwell ("The Dunwich Horror"). While on the English side stand out the always disturbing Michael Gothard ("Lifeforce"), Robert Lang ("Night Watch") in one of his usual police roles, and Carmen Du Sautoy ("Praying Mantis") giving life to one of those enigmatic characters in which he usually shines, although this time his presence is too short.
We are not facing the best episode of "Mystery" (honor that falls on "In Possession") but we are facing a clear example of the good level of this series that deserves all the recognitions.
El quinto jinete (1975)
Great Horror Classics
Notable Spanish series based on great classics of universal literature, all of them masters of fantasy and terror: Edgar Allan Poe, Guy de Maupassant, Henry James, Prosper Merimée, ETA Hoffmann, etc. The series was first broadcast on TVE from December 1975. It was later replaced in the second string in 1985. The first thing to note about the series is that the selection of authors and works is exceptional. Of course, someone can always miss a certain writer (for example, Bram Stoker, Conan Doyle ...), or some specific work ("The tall woman" of Alarcón enters, in my opinion, among those essential) . But we must recognize that it is impossible for all who are. However, it is also indisputable that this time if they are all who are. Let us say that almost all the stories are of Gothic style and that twelve of the thirteen authors are writers of century XIX. The only exception is Stephen Grendon, who is actually the pseudonym behind which lies August Derleth, a writer of the twentieth century who was a friend and disciple of Lovecraft. However, his included story (Mr George) also has a pronounced Gothic tone. Another of the highlights is the formidable performance of all the performers, a logical thing given the impressive array of actors involved in the series: Narciso Ibáñez Menta, Jack Taylor, Lola Herrera, Aurora Redondo, Patty Sheppard, Julián Ugarte, Pastor Serrador, Teresa Gimpera, Eusebio Poncela, Tota Alba, Charo Soriano, Fernando Delgado, Fiorella Faltoyano, Manuel de Blas, Eduardo Calvo, Andrés Mejuto, Victor Israel, Luisa Sala, José Orjas, Tomás Blanco, Jaime Blanch ... really incomparable. The ambiance of almost all the chapters is equally of very good level, with decorated and costumed dressings and, in short, a staging more than worthy. The only negative points of the series are, to my understanding, some of the adaptations made, quite debatable and with scripts that sometimes move away, or change fundamental aspects, of the original story; Both in terms of characters or situations, and in terms of scenarios or even era. The team of writers was the following: Ángela Duerto, Juan García Atienza, Enrique Brassó, Pablo Torino, and the own director of the series, José Antonio Páramo. In general terms, it can be said that the best scripts are those of Ángela Duerto, while the most debatable ones are due to Juan García Atienza. The other irregular aspect comes from the technical section, and more concretely from the montage and edition of some episodes, which was, to put it somehow, quite careless. There are some sudden cuts, sequences that seem incomplete, jerky jumps from one plane to another, or images that seem out of place. Apart from this, the direction of José Antonio Páramo is very correct, always highlighting the atmosphere of the chosen scenarios with images that convey well the mystery and the feeling of restlessness. All this relying always on the great level of its actors, to whom the director gives almost all the leadership. The average duration of the chapters is about 48 minutes. Although there are shorter ones, such as "Spectral income" (40 minutes) and also longer, as is the case of "The Demon" (56 minutes).
Todesvisionen - Geisterstunde (1989)
One of the best horror anthologies of the 80s
A more remarkable anthology actually consists of four independent short films that were released on video in the 80s, as a feature, and the past decade in DVD format. All four have very good standard and all are led by women living some extreme situations. The first (Malum) is clearly inspired by the famous and final segment of the film "Trilogy of Terror". And although it remains below that, it is well done and very satisfying despite its brevity (less than 12 minutes). The second story (Julia) the only headed by a woman, is quite away from the rest, both for its atmosphere (not as sinister as in the other) and by all to develop broad daylight. It is also quite short (16 minutes) and is possibly more clearly betting the supernatural. "Kristalltod" is a longer segment (25 minutes) in which evidently noticeable influences Argento film, especially in deaths. It is quite sinister and dark, and although it has poor lighting in some scenes, is arguably the best of all. The last story (Till death do us part) is also the longest (almost 40 minutes) and may be the most conventional of the four. Use the classic scheme of game of cat and mouse that always gives good results, but the end is very predictable. However, it is technically one of the best, has a good development and a very wise rotation. In short, I found a very commendable work, in which every story has an average level of interest and quality than what is usually seen in other films of anthologies, where we always find more loose or fill segments here do not appear . As only criticism one could speak of the imbalance in the duration of the four stories. I think a better distributed (more equitable) minutes would have stayed around.
La que arman las mujeres (1969)
Hilarious and forgotten jewel of the Spanish comedy
I saw this movie for the first time in November 1988 when they passed through TVE 2 on a Friday afternoon. Fortunately I got to record it on video because although I really did not sound the title, the plot promised fun and actors like its director Fernando Merino (La dinamita está servida) were great specialists in comedy. With respect to record movies little known, seldom I have had more satisfaction. Since then I have seen three or four times and I can say that is the film that I laughed more in my life. And speaking of laughter in capital, real attacks of those you can not control and make you even mourn. Mourn with laughter, yes. "La What Arman las mujeres" (The Women cause ruckus) is a comedy of great mess. And it is because, in its simplicity and modesty, get as few great purpose: fun. The formula is simple and is based on a series of mistaken identity and confusion between the characters, but the plot is very well basted, the pace is quick, and everything works great. Some of the situations that occur, as well as the behavior of various characters and many of the diálogos are extremely effective and fun, reaching the zenith conversation between Manolo Gómez Bur and AJ Escribano on "the pork" really antológico. The performers are all great and some are shown here actually in a state of grace. Juanjo Menéndez by poor Modesto, or Manolo Gómez Bur the unluckiest of it in their role of veterinarian. Margot Cottens equally fantastic playing a widow launched. The same can be said of Florinda Chico, Rafaela Aparicio or Valeriano Andrés. But I would especially highlight the great Ana Maria Vidal, an extraordinary actress with extensive experience in theater and with an enviable track record. Formerly (60/70) was also very frequent on TV, but incredibly his presence in the films is reduced only to ... three movies !!! Does anyone understand ?. Here overboard the character of Rosita, a crazy and talkative girl who is one of the great strengths of the film. It may not be the best Spanish or the most original comedy, there may be people who prefer other types of humor, is also not a title as well known as those of Alfredo Landa, Jose Luis Lopez Vazquez, Paco Martinez Soria, Gracita Morales, Lina Morgan, etc. But if you like the style of humor said, the enjoy, because in terms of fun, laughter and enjoyment, few can compete with it.
La mort mystérieuse de Nina Chéreau (1988)
Mysterious and evocative intrigue on a macabre myth
Despite having a somewhat misleading title, this forgotten gem brings a new twist on the myth of Erzsébet Báthory, seen here as a supernatural immortal character thanks, of course, to get the blood of his victims. Although I had seen something similar in the extraordinary "Les lèvres rouges"(Harry Kümel), it is also true that the approach gives Dennis Berry -supported in the script of Claude Harz- is completely different from the film of the seventies. Almost completely ignoring the erotic elements inherent in the character, and also away from the precious aesthetics of Kümel, Berry gives the tape from the beginning all the attention the character of Martin and through it as we know it which at first it seems a simple story of intrigue. Thus the mysterious Ariel is in the background that favors his enigmatic personality and in turn increases the mystery of the plot. Although the action takes place in the 80s, the ambiance and atmosphere are closer to the Gothic horror, thanks mainly to the gloomy interior sets (mansions, psychiatric ...) and filmed in a french old small provincial town. It also contributes to the beautiful and melancholic soundtrack Stephane Vilar. Maud Adams (Rollerball) particularly remarkable for their presence and physical and that its interpretation is far from satisfactory and, in my opinion, is not a right actress for the role of Ariel. Scott Renderer (Poison) does much better in his role as Martin, the young psychiatrist. But the best by far of all the cast is veteran Alexandra Stewart (phobia) playing Suzanne a character that is not what it seems and keep his surprise for the end. There are also small supporting roles for the Hungarian László Szabó, as police inspector, and french actors Charles Millot and Francoise Brion. True, this strange and surprising production made for French television will not be liked by everyone. The pace is very slow, there is little action and almost all deaths are off-screen. But if you like that other unconventional horror, you're a fan of weirdness or draws you everything about Erzsébet Báthory, sure you know enjoy it.
The Severed Arm (1973)
Dark and Underrated Slasher from 70s
One of those dark and forgotten slashers from 70's that fans never stop look for. From a somewhat illogical and implausible premise, the film will catching as the story unfolds. This is facilitated by the atmosphere of mystery surrounding the characters and the dark ambient that envelops the entire film. The deaths, without being spectacular and bloody, are quite effective and interpretations, even without moving from discrete, are above average for this type of films. Actors appear in the movie as Paul Carr (Sisters of Death), Deborah Walley (The Ghost in the Invisible Bikini) or Marvin Kaplan (Snakes). The director Thomas S. Alderman (Coed Dorm) unfortunately did not return to direct more films. Although I know there are opinions against, for me it is a jewel of I declare unconditional follower.
Man About the House: Love and Let Love (1975)
Get an intimate site
Chrissy has invited home to a guy and wants to be alone with him, so Robin and Jo asked not to return until midnight. They seem to agree, but Robin gets tired of waiting and decided to return much sooner established. That frustrates the evening Chrissy and she gets upset with Robin. Because of this, Robin, Chrissy and Jo decide agree that anyone who takes to a friend apartment must announce it to the others at least 24 hours in advance. The problems being intimate with friends emerge this time in one of the best plot of the fifth season. Wendy Allnutt involved in this episode in the role of Susan, a nurse friend of Robin. She was married to actor Colin McCormack, who intervened in several episodes of "Man About the House". In this episode you can also see the actress Veronica Doran, who had worked with Richard O'Sullivan in the film "The Haunted House of Horror", and actor Mark Cooper also appears. The end, when Chrissy, Robin, Jo and Susan meet in the apartment is very good.The same can be said of Roper marriage encounter in the bedroom.
Mind Rage (1996)
Sometimes, between the past and the present ... Lies of Mind
Interesting and almost unknown Psychothriller (the information out there about this film is scarce and very confused) we can include in the current movie that emerged in the 90s, including "Seven" remains the absolute reference. In this case, to its slogan boasted of it (in the style of Seven). The hallmark of his aesthetic is genuinely the last decade of the twentieth century, like its dark tone and gloomy, almost depressing. The story is full of unhappy characters and tired of their existence, people that unfolds in a bleak and tragic that world seem to want to escape but failed. The script is routine, but has some other item of interest and, above all, a couple of turns, especially not the second- expected to raise the film to a more than satisfactory level. The direction of the unknown Mark Allen Michaels nothing more discreet. The scenes of the killings are slightly disturbing, but the killer was barely glimpsed and deaths are not graphs. Nor are there too many suspects and false leads, but the director manages to maintain interest throughout and lead to the final surprise that leaves a good taste. The performances are quite correct. The best in my opinion is an almost unrecognizable Dennis Christopher (Fade to black) in a role that demanded more prominence. Good performance also of Charles Hallahan (The Thing) in the role of a violent police, and the last of his career before his death that year (1997). Michael Rogue, a stranger to my actor, is the main leading role, but is somewhat off and is always overshadowed by Hallahan. Andrea Leithe, interpret eminently television, it is pretty but little shines as an actress. Much better is the work of old friend Max Gail (The Curse of Black Widow), which again shows his seniority and job playing the nicest character in the film. Curiously, Tippi Hedren (The Birds) also appears in a small role making psychologist. In any case we have a great film, but typically before a thriller 90s that continues forward, it has its moments and saves the best for last. If you like titles like "Postmortem", "The Sign of the Murderer" or "Red Rain" is a highly recommended film. Also known as "Mind Lies". P.S. The release date of the film (video) was 1997.
Terror on Tour (1980)
Gira sangrienta
Me ha sorprendido gratamente este slasher de bajo presupuesto, ya que los comentarios que había leído sobre el no le ponían nada bien, pero a decir verdad, es una película entretenida y disfrutable, sobre todo si eres aficionado a los slashers de los años 80. Creo que este es uno de los primeros slashers protagonizado por un grupo de rock (posiblemente sea el primero) lo que ya le da cierta originalidad argumental y un toque algo novedoso. La película tiene muy buena atmósfera, y cuenta también con un escenario bastante sombrío y siniestro para desarrollar la acción. Mantiene además el misterio sobre la identidad del asesino, y cuenta con muy buenos temas de rock. Es cierto que los asesinatos son poco vistosos, pero es un film donde prima mas el misterio y la atmósfera antes que la sangre y los efectuemos. Muy recomendable para todo seguidor del slasher de los 80.