alucinecinefago Reviews

Pablo Escobar: El Patrón del Mal (2012)

Much better than "Narcos"

[9/10 · 26 August 2020]

In my opinion, "El Patrón del mal" is much better than "Narcos". More realistic and accurate to real facts. If you are from a Spanish speaking country, or if you are familiar with this language, you will realize that, no doubt.

In "El Patrón..." all actors are Colombian; you feel like you are there with them, at the times and places the events are happening. The main actor, Andrés Parra, really looks like Pablo here, talks like him, moves like him... And this is also the case with most of the other main characters (even if the names are changed sometimes, for instance Carlos Lehder is here "Marcos Herber", and so on).

Some have critized that this series are like a "telenovela", but I don´t agree. Maybe the structure is similar, but the main thing in the plot are not the love stories and the romantic misunderstandings of the characters (like it is the case in telenovelas), but the recent Colombian history, seen from different perspectives: Pablo and the Medellín Cartel on one side, and the authorities fighting against crime on the other.

Some have critized that this series glorifies Escobar, but I do not agree with that either. One of the scriptwriters is actually Camilo Cano, a grandson of Guillermo Cano, the director of an important newspaper who was killed by Escobar. And the script is based on a book written by a former mayor of Medellín.

By the way, there´s a book out there about this series written by a fan, it is a guide for the episodes of the series. As far as I know it is only in Spanish for now, but if you speak this language, love this series and/or are interested in the story of Pablo and the Medellín Cartel it could be interesting for you. The book´s name is "Pablo Escobar: El Patrón del Mal (Guía de todos los episodios)" and you can find it in Amazon (ebook and paperback).

Historias para no dormir (1966–1982)

Great Spanish series, a classic masterpiece of suspense

[9/10 · 26 August 2020]

Narciso Ibáñez Serrador (NIS) is truly the Hispanic Hitchcock. To develop this "Historias para no dormir" he actually was inspired by the famous British series "Alfred Hitchcock presents". NIS was the first one who introduced this genres into Spanish TV.

In some chapters he adapted tales by Edgar Alan Poe or Ray Bradbury. In others, he created his own stories. He was a real genius, clearly a visionary filmmaker. One of the chapters of this series has a very similar plot like Carpenter´s "They live"... and was made years before! So Carpenter maybe saw this (or heard about it), and got the idea thanks to NIS.

Anyway, I´m not sure if there is some version with English subtitles of this series out there. In Spain, this was on TV in the ´60s, ´70s and first ´80s. Some of the episodes, like the Bradbury-style dystopic science-fiction, look quite prophetic if you see them now (kind of a pre-"Black mirror" maybe).

By the way, there is a book that reviews and analyzes all of the chapters of the series, and also the two feature films by NIS (unfortunately he only made two, "The house that screamed" and "Who can kill a child"). It looks like the book is only in Spanish for now, but if you speak this language and love intelligent horror and science-fiction, it could be interesting for you. The book is "Historias para no dormir: ...y otros inquietantes mediometrajes televisivos de Narciso Ibáñez Serrador" and you can find it in Amazon (ebook and paperback).

Get Mean (1975)

A lot of crossovers in this atypical (and somehow chaotic) western

[6/10 · 16 August 2020]

The following review is an extract from the book "Italo-Western and more...: A filmic guide", which is now available on Amazon.

"An unusual and unclassifiable product, which in the context of western film combines genres such as sword and sorcery with horror - all full of anachronisms and with touches of surrealist comedy in the style of Monty Python. Although the theme is not very original (the main character's mission is to protect a princess and find a treasure), the approach and context in which the story takes place is very original indeed: From the Wild West we go to (medieval?) Spain; in the same film we have a gunman who, armed with his colt, has to face a horde of barbarian warriors with huge swords and horned helmets; likewise, María's companions seem to have come out of a chapter of "Curro Jiménez" (Spanish TV series from the late ´70s, about a Robin-Hood-like bandit), dressed in the style of the Andalusian bandits of the early 19th century."

A Pistol for Ringo (1965)

Entertaining western, set in Christmas time

[7/10 · 16 August 2020]

The following review is an extract from the book "Italo-Western and more...: A filmic guide", which is now available on Amazon.

"Very entertaining and enjoyable this Christmas western, one of the first to come out in Italy, a blockbuster and very popular, which would have a sequel that same year. It was released shortly after "For a Fistful of Dollars" (Sergio Leone, 1964) - the emblematic feature film with which the sub-genre was launched, and in which Duccio Tessari, director of the proposal under consideration, served as co-writer.

"A Pistol for Ringo" lacks the epic tone that characterizes Leone's western films, and also the melancholy, somber and hypervolent style that is typical of many Italian western gems. The plot is simple and linear, yet rich in nuances and well-crafted characters.

The usual vendettas are dispensed with and we are presented with a story of hostage-taking with its corresponding intrigues, albeit in a light-hearted and humorous way. Ringo is very different from the Leonesian/Eastwoodian "man with no name": Although he is also an amoral loner he is much more talkative, and often makes joking remarks. He is well dressed, well shaved, does not smoke and drinks only milk.

Just as in the film he is a "turncoat", he also switched sides earlier during the civil war: "At first I was with the Confederates, but when I saw that they were losing, I switched to the North. You should never be with a loser... it's a matter of principle"."

Run, Man, Run (1968)

Funny and entertaining spaghetti-western, by one of the great Sergios

[7/10 · 16 August 2020]

The following review is an extract from the book "Italo-Western and more...: A filmic guide", which is now available on Amazon.

"Central theme is the search for a treasure by different individuals and factions, which will inevitably lead to numerous entanglements and misunderstandings. The film could be described as a revolutionary and humorous western. It is an Italian-French co-production shot in Almería.

Besides Leone and Corbucci, another Sergio also stood out in the subgenre of the Italian-style westerns: Sergio Sollima. This director had filmed in 1966 "The Big Gundown" (original version "La resa dei conti", which literally translates as "The Settling of Scores"). In that film, the character of funny Mexican bandit Cuchillo, played by Tomas Milian, appears for the first time. The film we are dealing with today can be considered a sequel to the above-mentioned film, although the respective plots are completely independent. Both films have the Mexican revolution as a background.

This "Run man run" stands out above all for its use of a certain comedy, brought about above all by the protagonist (with his outbursts, his blunders, etc.)."

Conan the Destroyer (1984)

Not like the first one, but...

[7/10 · 13 July 2020]

The following review is an extract from the book "Sword and sorcery in cinema: Conan and other barbarians" which is now available on Amazon.

"There were so many stories of the muscular Cimmerian, from Howard's originals to those written by his successors like Lynn Carter or L. Sprague de Camp, that there were plans to make a whole saga of films, always with the burly ex-Mr. Universe Arnold Schwarzenegger as the main character. Two years later, in 1984, this "Conan the Destroyer" would be released, a sort of sequel to Milius' Conan. But for most of the fans of the barbarian this continuation was extremely disappointing. The film has a very different style and seems to be made on purpose for a childish audience. The dark, Nietzschean epic tone of Milius' Conan is abandoned, the cold philosophy of steel and bloody battles is missing. The producer Dino De Laurentiis (who had already financed the first part) wanted this time a "sweetened Conan", for all audiences, castrated from his genuine savagery, from his untamed and sombre character; a "Conan for the whole family", hoping that the audience would be even more numerous. Easy humor abounds, with supposedly funny characters like Malak, ridiculous dialogues and Conan himself more than once in a clownish attitude.

However, the story line itself is promising, and if the true spirit of the character had been respected, the plot could have been very successful. In fact, the novelized version of the story written shortly afterwards by Robert Jordan is a highly recommended book of heroic fantasy and adventure, which retains the style of the Howardian Conan - and that of the "Savage Sword" comic series. In the script of "Conan the Destroyer" worked two greats of the comic, two essential figures of Marvel: Roy Thomas and Gerry Conway. The first one was always one of the usual writers of the Cimmerian comics while the second one stood out as the author of the Spiderman stories. Stanley Mann was supposed to be the author of the script, but the idea for the plot of the film came from Thomas and Conway. Neither of them was satisfied with the final result of "The Destroyer" once it was released.

"Conan the Barbarian" had been filmed in Spain, but to save travel and cut budgets this sequel was shot in Mexico, with the collaboration of the famous Churubusco studios. Like the first part, it was Basil Poledouris who was in charge of the soundtrack. The music is still highly epic and of immense quality, although it does not bring anything new with respect to Milius' Conan. There was no few critics who considered that Poledouris had simply recycled his scores used in the 1982 movie.

For the film, Schwarzenegger increased his muscle mass considerably compared to the Conan he had played two years earlier. Mako Iwamatsu returns to the role of Akiro the sorcerer."

The Mummies of Guanajuato (1972)

Santo and his friends against a wrestler-mummie from the past

[9/10 · 9 June 2020]

The following review is an extract from the book "Santo, the Wrestler with the Silver Mask: A guide to all his films", which is now available on Amazon.

"The cemetery of Guanajuato is a real tourist attraction. There, mummies are exhibited (...) The guide enjoys scaring tourists with terrifying legends. One of them tells that the largest mummy, belonging to a gigantic 2.20-meter individual, was not dissected by natural procedures or embalmed by human hands. Its almost perfect state of conservation (except for the face) is due to the fact that the above mentioned made a satanic pact. The giant was in the past century a professional wrestler, known as "Satan" because of his proclivity towards the dark. Satan fought against an ancestor of Santo, the Silver Masked Man, and was defeated. But he swore vengeance, assuring that he would return from the dead just 100 years later, to take revenge on the Saint's successor and his followers.

(...) This is one of Santo´s best known films, and paradoxically the Silver Masked Man is not the protagonist. His role is quite secondary; he doesn't appear until well into the film, being Blue Demon and Mil Máscaras the wrestlers with the greatest acting weight in the film.

(...) The revenge of a being from another era, who was defeated by an ancestor of Santo and now seeks revenge, is a recurring theme of the saga. An analogous plot is found in "Santo against the Vampire Women" (Alfonso Corona Blake, 1962).

(...) Without a doubt, "The Mummies of Guanajuato" is one of the most remembered and enjoyable films in Mexican wrestling."

Zatoichi the Fugitive (1963)

Zatoichi, once again, wants to fulfil a good deed

[9/10 · 9 June 2020]

The following review is an extract from the book "Shintaro Katsu´s Zatoichi: Complete guide to all movies", which is now available on Amazon.

"(...) Zatoichi agrees to be transported in a jinrikisha (a type of proto-taxi in Japan of the Tokugawa era, and other Asian countries). Persecutors who want to kill the blind man see how he rides the vehicle, as they keep a close watch on him. At the edge of the road, Zatoichi and his carriers meet a woman with a baby who feels unwell. Chivalrously, Zatoichi proposes to the mother to get into the car in his place; he will continue on foot. A few meters ahead, the jinrikisha is attacked, the killers strung the person inside thinking that it is Zatoichi ... and killing instead the young mother (...).

(...) Zatoichi, who feels responsible for the tragedy, decides to take the baby to the town of Miyagi to give it to her father Unosuke, the husband of the deceased.

(...) This issue is the eighth sequel to the excellent "Zatoichi monogatari" (Kenji Misumi, 1962). The director of every film about the adventures of the blind swordsman is not always the great Kenji Misumi, but this is the case in this "Zatoichi kessho-tabi" that we are dealing with today, and whose international title in English comes to be, without much sense, "Fight, Zatoichi, fight". We say without much meaning because that title is not necessarily descriptive of the film (Zatoichi fights in all his films), and we are inclined to think that it is not the literal translation from Japanese either.

Zatoichi and the Chest of Gold (1964)

Brother vs. brother (Katsu vs. Wakayama)

[9/10 · 9 June 2020]

The following review is an extract from the book "Shintaro Katsu´s Zatoichi: Complete guide to all movies", which is now available on Amazon.

"This is the sixth part of a saga of films shot in the 1960s about the adventures of the blind swordsman Zatoichi. Always motivated by deep convictions and a strong sense of honour, on this occasion Ichi must shed light on the robbery committed against humble peasants in order to prove that he had nothing to do with the crime. Two intriguing women, the clever Ogin and the young Chiyo (sister of the warrior who killed Zatoichi the previous year) will try to prevent the blind masseur from fulfilling his laudable purpose.

(...) In "The chest of gold" we have the rare privilege of seeing in the same film the two masters of the chanbara genre: On the one hand Shintaro Katsu as the heroic Zatoichi and on the other his brother Tomisaburo Wakayama (Ogami Itto en Kozure Okami / "Lone Wolf and Cub") as his antagonist the evil ronin Joshiro. Just as in "Zatoichi's Pilgrimage" (also directed by Kazuo Ikehiro) his opponent Tohachi (Isao Yamagata) has as particularity his skill with kyudo (archery), here Joshiro stands out in the use of another weapon or combative technique: the whip."

Gunan, King of the Barbarians (1982)

Small budget, big philosophical-mystical content

[8/10 · 31 May 2020]

The following review is an extract from the book "Sword and sorcery in cinema: Conan and other barbarians: A filmic guide", which is now available on Amazon.

"Franco Prosperi's Gunan, a film camouflaged as a mediocre B movie of sword and sorcery, enters (voluntarily or not) in the field of legend and myth, in the fascinating world of the collective unconscious, following the patterns that are repeated in the sagas of many peoples of antiquity. Gunan is "the Chosen One", a redeeming figure who takes human form; like the Kalki Avatar of Hinduism, the Maitreya Buddha, the Islamic Imam Mahdi or the Judeo-Christian Messiah; and who arrives as a Saviour at the end of an era to inaugurate a new cycle. (...) All of this goes unnoticed by the superficial viewer, who only thinks this is an Italian cheesy barbarian-exploitation mess.

Because of the errors of men, of the "original sin" (in the concrete case of the film it is the mother's adultery), the cosmic order has been outraged and the "Chosen One" incarnates in duplicate, with a brother-clone, which is his malignant and antagonistic version. The archetype of the "two brothers" takes us back to Cain and Abel, or to Romulus and Remus. Only one must prevail.

(...) It is interesting to note that the central theme of "Gunan" revolves around the antagonism between two brothers, one of whom is a "copy" of the other, a "genetic plagiarism" of the real one... For the film itself, "Gunan", is also a "copy", an imitation of the blockbuster "Conan the Barbarian": Gunan is Conan's "younger brother". And just as Gunan's younger brother arrived first at his confrontation with the villain, "Gunan il guerriero" arrived in Italian cinemas a day before "Conan the Barbarian" was released - curious coincidences.

(...) Gunan, superior in many aspects to Sangraal/Krotar (except for the soundtrack), and who has the "privilege" of being the first of the rip-offs of Milius' Cimmerian, will not disappoint the fans of the endearing Italian sub-genre of neo-peplum barbarians."

The Sword of the Barbarians (1982)

Could be better, but worth watching

[7/10 · 30 May 2020]

The following review is an extract from the book "Sword and sorcery in cinema: Conan and other barbarians: A filmic guide", which is now available on Amazon.

"Sangraal is a mediocre but entertaining barbarian-exploitation that takes as its model the Conan of Milius. The script is quite dull and inconsistent; you can tell that it was written in a hurry and probably on the fly, without any intention of deepening the story (many subplots are started and then abandoned, for example the potentially interesting story of jealousy between Lenna and Aki is very much wasted).

Both the dialogues and the tiring voice-over of the narrator result in several unintentionally comical and even ridiculous moments: "The Forces of Evil only beget evil, but Good puts good before", the narrator solemnly explains. Another absurd and hilarious example is when Wang introduces himself to Aki and Sangraal. When the girl tells him her name, the Asian comments: "Aki, I like it; it's like sweet music" (!?). Wang's character, who with his "oriental wisdom" always has a "Chinese proverb" at hand, is a clear imitation of Conan the Barbarian's Subotai. Aki and formerly Lenna, brunette one and blonde the other, act as Sonja.

(...) Soon new challenges and missions appear: nothing less than finding "the Templar's Ark" (!??) - Let's not forget that this film is set in a magical and prehistoric time, long before our era.

Besides the armies of Nantuk, Sangraal and his comrades will have to face some "reptiloid" beings (it is never possible to see them clearly) in some underground tunnels and some primitive monkey-men (Cannibals?) in the thickness of the jungle.

In its Spanish version the film is called "La espada salvaje de Krotar" ("The savage sword of Krotar"), but this Krotar does not appear anywhere. He is only mentioned on one occasion very early on by the narrator (it is the king who expelled the people of Sangraal from their original lands). No doubt that misleading title was an idea of the Spanish distributors, who somehow wanted to associate the film with the popular comic book collection of "The savage sword of Conan".

Despite the film's many shortcomings, its soundtrack is more than acceptable; it has highly epic airs, no doubt inspired by the Carmina Burana."

Santo in the Treasure of Dracula (1969)

Gothic science-fiction wrestling fun

[7/10 · 28 May 2020]

The following review is an extract from the book "Santo, the Wrestler with the Silver Mask: A guide to all his films", which is now available on Amazon.

"This is one of the best known films of Santo, especially because there are two versions: The original in black and white, a routine gothic horror production marketed under the title "The Treasure of Dracula", and one in color with some spicy nude scenes that bring it closer to the softcore genre - a version that was believed lost for many years, to the point that several of the Saint's followers and Mexican wrestling films came to consider its existence just an urban legend.

We have several elements along the footage that enrich the plot: On the one hand, science fiction (The Saint shows us here his scientific side, with the creation of a time machine "to better investigate past civilizations"), the more traditional Gothic horror (with the prototypical story of vampires taken from the Stokerian novel), the gangster cinema (with the "Black Hooded" and his henchmen, who try to take advantage of our hero's invention), wrestling (the fight Santo must have in the ring against the son of the Black Hooded man) and in the most explicit version, we also find sensual busty vampires who show their flesh with lust and profusion. All these sub-genres, seasoned with comedy (some of this comedy is involuntary and some not) are brought together in the film - resulting in a highly entertaining filmic experience."

Santo and Blue Demon vs. the Monsters (1970)

Santo vs. all classic monsters in one film

[7/10 · 28 May 2020]

The following review is an extract from the book "Santo, the Wrestler with the Silver Mask: A guide to all his films", which is now available on Amazon.

"In this part of the Saint we have condensed in just over 80 minutes the classic monsters of the cinema, all in a single film. Here, these beings are automatons without their own will, which at all times follow the orders of the usual mad scientist - an archetypal character of science fiction B movies in general and of Santo´s films in particular. The vampire and the mummy correspond to the usual aesthetics, and so does the "Franquestain" (whose name is written like this during the presentation in the credits), with its markedly "Karloffian" aspect. The werewolf, on the other hand, looks more like a bearded vampire, while the "cyclops" is powerfully reminiscent of the "creature of the black lagoon"; it is a scaly, amphibious beast with a single phosphorescent eye. We also have zombies (if the professor's greenish lackeys can be considered as such). One of them is characterized by wrestler "Caveman" Galindo. Another monster also appears in the laboratory, which although it has a secondary role, is striking: It resembles the aliens in Tim Burton's "Mars Attacks", a film that would not be made until 26 years later.

(...) It is curious the confusion between day and night in certain sequences. For example, during the car chase, one moment you see the daylight and the next moment it is suddenly night (!). Or when the entourage of henchmen of the mad scientist arrives at the castle with his corpse to revive it, they go in a carriage carrying torches... when it is clearly visible that it is daytime...

If up to now Santo used to be enraptured by an aura of mystery, by a certain intangibility, now there are shown moments of his private life: Like his courtship with Gloria (whom he kisses with the mask on!)"

Zatoichi on the Road (1963)

Darkness is the ally of the blind swordman

[7/10 · 28 May 2020]

The following review is an extract from the book "Shintaro Katsu´s Zatoichi: Complete guide to all movies", which is now available on Amazon.

"At the beginning of this film, as a filmic preface, we see how Ichi plays a game of dice (or something similar) with a small group of dishonest opponents. The latter, despite having lost, are not willing to accept defeat, but before they can react, Zatoichi makes them reluctant to even try any hostility against him. With a lightning fast movement of his shikomizue, he cuts a candle that illuminated the room vertically, leaving his opponents astonished, and leaving the room shortly afterwards in the dark (and therefore in relative equality of conditions with others who are able to see). "Darkness is my ally..." says Zatoichi again sheathing his sword in the reed.

The massive duel between the two groups of yakuza recalls by its atmosphere and stylistic characteristics the great Italo-westerns, where a solitary gunman (like Clint Eastwood in Sergio Leone's "Dollar trilogy") must face several enemies at the same time. Leone and other western masters were profusely inspired by the Japanese chambara. The equivalence and parallels between samurais or ronins and solitary cowboys or outlaws are undeniable."

Little Caesar (1931)

A classic gangster movie

[7/10 · 26 May 2020]

The following review is an extract from the book "Mafia films - a guide", which is now available on Amazon. This book is very interesting not only for gangster movie lovers, but also for people who like to read about real Mafia history and facts, as the real events in which some of the movies are based are also analyzed.

"This classic of gangster cinema stars Edward G. Robinson, one of the great icons of the genre in the 1930s along with Paul Muni and James Cagney. The big physical resemblance between Robinson and Al Capone is striking.

(...) There is a scene where, during the party, photographers from some newspaper arrive at the Palermo club. Rico proudly poses, showing off in front of the cameras, while another member of the gang, more cunning and cautious, prefers to avoid drawing attention to himself. In that scene, the parallelism that more than 50 years later this situation in the film and all the great contrast that it implies would have in a case of real-life mafiosi stands out: For John Gotti, head of the Gambino family, had a narcissistic character very similar to that of this fictional Little Caesar and he also liked to be the center of attention (which in many ways contributed to his downfall). The other mafioso who avoids photos and hides when journalists come remembers Vincent Gigante, a taciturn and sneaky Genovese boss who, unlike Gotti, preferred to keep a low profile.

(...) The film was directed by Mervin Le Roy, who in 1951 would make the classic "Quo vadis", and in 1956 the also highly recommended "The bad seed", a film of suspense and psychological horror."

The Death Collector (1976)

Low budget, but great actors

[7/10 · 26 May 2020]

The following review is an extract from the book "Mafia films - a guide", which is now available on Amazon. This book is very interesting not only for gangster movie lovers, but also for people who like to read about real Mafia history and facts, as the real events in which some of the movies are based are also analyzed.

"In this modest, low-budget gangster film by a director who would never go behind the cameras again, two greats of the genre made their big-screen debut: the famous Joe Pesci (as Joe) and Frank Vincent (as Bernie). Robert De Niro, who two years earlier had played the young Vito Corleone in "The Godfather II" (F.F. Coppola, 1974) saw the film and perceived the great potential of both actors. Pesci and Vincent were recommended by De Niro to Martin Scorsese for the cast of "Raging Bull" (audiovisual biography of boxer Jake La Motta, to be released in 1980). From then on, Pesci and Vincent would become inseparable casting partners for De Niro, and regular collaborators of Scorsese; shining especially with their roles in "Goodfellas" (1990) and "Casino" (1995). These Mafia-themed masterful epos are in every respect far above the movie we are dealing with now, but it is nonetheless interesting to see the Pesci/Vincent duo in their film debut, in their first accredited roles in a genre in which they would both specialize over the years.

"The Death Collector" tells the story of Jerry, a young man who is willing to do anything to succeed in the dangerous world of the Mafia. As is often the case, he must face both the members of rival families... and the intrigues and betrayals of those he considers his friends. For, as Scorsese will show us later in "Goodfellas," the killer always comes with a smile, and the one who's trying to kill you, or who's plotting your death, may be the one you least expect...

The whole film is a big flashback, starting with the same scene as the one at the end: a boss supervises how several of his men take a body out of the trunk of a car to bury it. The identity of the dead man, unknown at first, will be revealed at the end. Although the predominant tone is dramatic, reflecting the usual conflicts of the genre such as honour, loyalty and betrayal (all seasoned with large doses of violence), there is also room for light-hearted scenes of a humorous nature."

Donnie Brasco (1997)

Great Mafia story

[9/10 · 26 May 2020]

The following review is an extract from the book "Mafia films - a guide", which is now available on Amazon. This book is very interesting not only for gangster movie lovers, but also for people who like to read about real Mafia history and facts, as the real events in which some of the movies are based are also analyzed.

"The film is based on real events, and tells the story of FBI agent Joseph Pistone; the first to infiltrate one of the five powerful Mafia families in New York. In the late 1970s, as he tells in his autobiographical book, Pistone was given the mission of breaking into the city's Mafia circles (...) . Pistone, of Italian background, was familiar with the lifestyle of the mafiosi who controlled the New York underworld. He too was a tough guy who spoke and moved like them, who knew very well their mentality and their way of doing things. That's why his superiors thought he would be the ideal agent for such a job, an infiltration task that aimed to hit the Mafia from the inside with a forcefulness never seen before.

(...) Big would also be Pistone's conflicts with his wife Maggie. She and her daughters could hardly be seen by the agent during the time of the infiltration, for obvious security reasons. Over the months, Maggie would notice a change in her husband's personality; who, in her opinion, was playing the role of a mafioso "too" well...

All this can be seen in the film, which is quite true to the real story - as Pistone himself has admitted. The former undercover agent, now in the witness protection program, worked as a consultant during the making of the film.

"Donnie Brasco" came to theaters in 1997, almost 20 years after the events shown in the film. The truth is that already in 1991 there was a project to bring Pistone's infiltration of the Bonanno family to the big screen, but it was postponed - especially because shortly before, in 1990, Martin Scorsese's famous and successful "Goodfellas", another film about the Mafia based also on real events, had come out. In the 1991 "Donnie Brasco", it was not Johnny Depp but Tom Cruise who was to play the main character; but Al Pacino was already the actor who would play Lefty Ruggiero.

Al Pacino plays a brilliant role playing the haggard and frustrated gangster. He constantly feels displaced within the family. He, who has always "worked hard" for the clan, considers it unfair that it is always others who rise in the hierarchy. This can be seen very well in the sequence of the yacht, when Lefty goes very excited towards the Florida Mafia boss to greet him, but this one ignores him and only wants to know where "Sonny Black" is.

While most of what we see in the film happened in real life, screenwriter Paul Attanasio and director Mike Newell took some artistic license by slightly changing some aspects of the story. For example, the Japanese restaurant scene is completely invented. On the other hand, the film suggests that the closest gangster to Pistone/Brasco (Johnny Depp) within the Mafia was Lefty Ruggiero (Al Pacino), when in fact the agent's closest contacts were with Sonny Black (Michael Madsen). Tony Mirra, who introduced Pistone to the Bonanno family, doesn't appear at all in the whole film - and that's a pity, because his volatile and psychopathic character (very well described in the book) could have make the movie even greater: Joe Pesci would have been the perfect candidate to play him."

Santo and Blue Demon vs. Dracula and the Wolf Man (1973)

The Holy one fighting against evil again

[7/10 · 22 May 2020]

The following review is an extract from the book "Santo, the Wrestler with the Silver Mask: A guide to all his films", which is now available on Amazon.

"Entertaining to the highest degree, and with relatively high production values, this is one of the best films in the Silver Mask saga. The story is very well elaborated, there are ingenious turns of script that bring intrigue, the gothic atmosphere of the crypt is optimal. Despite the similarity in theme, the film is on the whole very different from "Santo y Blue Demon contra los monstruos" (Gilberto Martínez Solares, 1970), a chaotic festival of delirium that would well serve as a paradigm for the B-movies.

The film we are dealing with, on the contrary, has a very well worked plot and mise en scène. There is no lack of the characteristic polarizing symbolism present in most of Santo´s films, where our hero embodies the absolute good and justice in its maximum expression while his opponents come directly from the Underworld: It is the eternal cosmic combat, the force of Light against the powers of Darkness (which this time are represented by a vampire and a lycanthrope). These monsters will give the Silver Mask more than one headache. Blue Demon to his comrade Santo: "When you say more than ten words in a row, I know you are worried".

(...)

Miguel M. Delgado, the usual director of the films of the comedian Cantinflas, directed other films of the Saint's saga such as "La venganza de la Llorona" (1974) and the highly recommended "Santo y Blue Demon contra el Dr. Frankenstein" (1974)."

Zatoichi (1989)

Zatoichi is back

[7/10 · 22 May 2020]

The following review is an extract from the book "Shintaro Katsu´s Zatoichi: Complete guide to all movies", which is now available on Amazon. Highly recommended for all Zatoichi fans!

"After "Zatoichi in desperation", Shintaro Katsu got "behind and in front" of the cameras again at the same time for this last film in the saga about the adventures of the swordsman and blind masseur. Katsu directs and stars in this 1989 "Zatoichi", as well as having written the script, and financed it as a co-producer. His son Ryutaro Gan impersonates the young oyabun Goemon.

Apart from seeing a very mature Ichi, around sixty years old and in the twilight of his days, the plot brings practically nothing new to what has already been seen in the 25 previous films. The same schemes are repeated, old details and stories are recycled, we see the same strategy of Ichi in the dice game, and the blind masseur continues to fully retain his faculties with the sword. In this, years have not passed for him.

(...)

The film lasts two hours, much longer than the most of the other movies (Only "Zatoichi meets Yojimbo" has that extension as well).

Although this last film may disappoint some, one thing is for sure: Zatoichi is Shintaro Katsu and Shintaro Katsu is Zatoichi. Later attempts to bring the blind hero back to the big screen with other actors may be respectable (as is the case with Takeshi Kitano's "Zatoichi" in 2003), but they don't reach the quality of Katsu's 60's and 70's Zatoichi films (directed by Kenji Misumi, Kimiyoshi Yasuda or Kazuo Ikehiro among others).

Good soundtrack with ambient touches by Takayuki Watanabe, except for one song in English, which is quite out of place in that context.

There was a tragic accident during the shooting of this film: Actor Ryutaro Gan (son of Shintaro Katsu), who plays Goemon, killed an extra with a katana while filming a combat scene."

Santo contra Blue Demon en la Atlántida (1970)

Not perfect, but entertaining

[15 May 2020]

The following review is an extract from the book "Santo, the Wrestler with the Silver Mask: A guide to all his films", which is now available on Amazon.

"Dr. Hugo Olvritch, aka Achilles, is a mad scientist with the intention of subjugating the world. The great powers are worried after two strange events: The launch of a rocket and the explosion of a hydrogen bomb on an island. The US, the USSR and other powerful states deny having anything to do with it. International representatives are meeting in a security council with the intention of preventing the outbreak of World War III.

(...)

On this occasion, the Saint plays a role as an international secret agent, in a film that combines the intrigue of the spy genre with science fiction.

At the beginning there is a very long prologue, reminiscent of the one in "Who Can Kill a Child?" (Narciso Ibáñez Serrador, 1977), where a voice-over narrator warns of the dire consequences of the wars, violence and conflicts that have wounded mankind since the beginning of time. The prologue becomes even longer, and numerous inserts, archive scenes about rocket launches, nuclear bomb detonations, etc., are paraded before our eyes.

Santo, the supposed protagonist, takes 20 minutes to appear. He does so in a ring fight against Blue Demon. He must then collaborate with Professor Gerard (and the "world security control") in locating Olvritch's hideout and neutralizing him.

The film was directed by Julián Soler, a director who is extremely interesting for having made two memorable films: "Si usted no puede, yo sí" (1951), a comedy with a script by Luis Buñuel and Luis Alcoriza; and the excellent "Pánico" (1966), a psychological horror triptych (not exempt from black humor in its last segment). On the other hand, this "Santo contra Blue Demon en la Atántida" is predictable and dispensable."

The Tale of Zatoichi Continues (1962)

First sequel of a great saga

[15 May 2020]

The following review is an extract from the book "Shintaro Katsu´s Zatoichi: Complete guide to all movies", which is now available on Amazon.

Zatoichi (Shintaro Katsu), the famous and prodigious masseur and blind swordsman, has arrived in a new region after the adventures narrated in the first film. After confronting some arrogant soldiers, who throw him into the water when they discover him in the boat in which they were crossing a river, he is hired to massage the head of a samurai detachment. However, while he is doing this work, he indiscreetly discovers a secret of the lord ("I had never had a client like this one..."), so the samurai will persecute him with the intention of killing him.

(...)

Second part of a long line of films with the mythical blind masseur, hardened player and wandering swordsman Zatoichi as the protagonist. The actor who gives life to the character is, once again, the great Shintaro Katsu. The director of this second part is not Kenji Misumi, but another director (Kazuo Mori). The sequel to "Zatoichi monogatari" (shot the same year, 1962) is not at the same level as the original. There are some gaps in the story; for example, it is never quite clear why the samurai want to kill Zatoichi (What is the secret that the masseur has discovered about the lord? It must be such a big secret that not even the spectator has the right to know...

In any case, Zoku Zatôichi monogatari's viewing is a good opportunity to see Shintaro Katsu and Tomisaburo Wakayama (Zatoichi and Yoshiro, repectively), two greats of the sixties and seventies chambara, who were also brothers in real life.

Zatoichi Goes to the Fire Festival (1970)

Awesome entry, one of the best in the saga

[9/10 · 15 May 2020]

The following review is an extract from the book "Shintaro Katsu´s Zatoichi: Complete guide to all movies", which is now available on Amazon.

In 1830, in the province of Kanto, a very powerful head of organized crime managed to unify under his command all the clans of the Yakuza. This supreme leader, whom very few have seen, controls with an iron fist illegal businesses such as gambling, prostitution and extortion; and is known throughout Japan as "The Dark Imperial Lord," or "the Shogun of the Underworld".

Zatoichi arrives in that region after witnessing numerous villagers kneeling before an outstanding character transported in palanquin: "Who is that daimyo?" He gets no answer, because it was not a daimyo, but the enigmatic "boss of bosses" and his entourage.

(...)

Together with "Zatoichi 's Pilgrimage" (Kazuo Ikehiro, 1966) this is undoubtedly one of the best episodes in the entire saga of 26 films about Zatoichi (if not directly the best). Made by Kenji Misumi, lead actor Shintaro Katsu participated in the script.

Aesthetic beauty is present throughout the film, and it is worth highlighting a scene in which the mysterious samurai chasing Zatoichi has a kind of flashback nightmare...

In the final scenes, Ichi will have to endure a real hell before confronting the sinister yakuza boss - who is as blind and cunning as he is. But unlike the "Shogun of the Underworld," Ichi is on the side of justice and always denounces hypocrisy and corruption: "We bandits act outside the law, but you behave as if you belonged to royalty..."

Zatoichi and the One-Armed Swordsman (1971)

Japan vs Hong Kong, atypical crossover entry in the saga

[15 May 2020]

The following review is an extract from the book "Shintaro Katsu´s Zatoichi: Complete guide to all movies", which is now available on Amazon.

A family of Chinese acrobats travels through Japan performing their shows. After one of their shows a compatriot of them appears on stage; a martial artist named Wang Kang. He only has one arm, the left arm, because the other lost it in a fight. The Chinese warrior came to Japan in search of the temple of Fukuryu-ji.

Soon Wang becomes friends with the other Chinese; a couple and their little son Shaolong. They know the address of the temple and agree to take him there. On the way there is a procession of samurai carrying offerings for the shogun. "It is forbidden to cross with them, we must wait for them to pass, so is the law in Japan" says one of the Chinese. However, a gust of wind takes his son's kite to the road where the samurai parade takes place. Little Shaolong runs after it, stumbling and interrupting the sacred procession. The indignant escorts of the procession want to punish him for it, but Wang Kang quickly intervenes, thus initiating a fight between the one-armed Chinese swordsman and the Japanese samurai. The latter assassinate Shaolong's unarmed Chinese parents, as well as others bystanders, producing an authentic massacre. In the end, Wang and the child manage to escape, although separately.

The news of what has just happened spreads quickly in the region, but in a distorted way. The official version states that a dangerous mad Chinese attacked the Samurai procession, thus provoking the carnage. Now, this foreigner is wanted by provincial officials and also by yakuza clans who cooperate with the authorities and hope to receive the juicy reward offered for the head of the foreign fugitive.

(...)

This is one of the most atypical films in Zatoichi's saga, which with was approaching towards its end (it is the twenty-second film of 26). It is a crossover in which the best Japanese swordsman of film series (who is blind) and the most "dexterous" Chinese martial artist (who is actually left-handed, as he lacks a right arm) share the poster. Wang Kang's character is played by Yu Wang (who is not as popular as Bruce Lee). Wang is the protagonist of a series of films shot in Hong Kong about the fictitious figure of the "One-armed swordsman". Like Zatoichi in Japan or El Santo in Mexico, this "one-armed swordsman" is a popular character with his own series of action films, including choreographed kung-fu fights.

In "Shin Zatoichi: Yabure!" The cultural and linguistic confusions between Ichi and one-armed Wang are memorable. After the final duel between the two (which although it is done with knives has enormous aesthetic similarities with the western-genre) the two, very equal, proclaim that "If we had understood each other, we would not have had to fight...".

The soundtrack is composed by Isao Tomita (one of the fathers of ambient music, and among the first to use synthesizers), who also created the music for the second film of the trilogy "Hanzo the Razor" and the episodes of the series "Oshi samurai".

Zatoichi's Revenge (1965)

Dramatically intense entry in the saga

[7/10 · 15 May 2020]

The following review is an extract from the book "Shintaro Katsu´s Zatoichi: Complete guide to all movies", which is now available on Amazon.

Zatoichi comes to the outskirts of the town of Azabu, where he lived ten years ago. He decides to visit his teacher Hikonoichi, another blind man who taught him his profession as a masseur. As he eats and drinks sake at the village inn, his old friend Yasaku recognizes him. He informs him that Hikonoichi sadly died only a couple of weeks ago. He was murdered, and no one knows the reason. Zatoichi also learns that Sayo, the daughter of his master, now works in a brothel. This brothel is owned by yakuza boss Tatsugoro.

Zatoichi rightly imagines that Sayo, now known as "Nishikigi", is not there voluntarily. Besides being a libertine, Tatsugoro is a heartless man who charges "protection taxes" to farmers in the area, and who makes a profit out of usury loans.

(...)

"The Revenge of Zatoichi" is the tenth of the films dedicated to the figure of the kind and just masseur- swordsman. This time Zatoichi intends to rescue the daughter of his master (who has fallen into the clutches of pimps and usurers) and punish his murderers. The Sayo that Ichi knew as a child, sweet and angelic, is today reflected in Tsuru, who is nevertheless the daughter of one of the men of the yakuza Tatsugoro; that is to say, the daughter of a potential enemy... For this reason, among other things, in this film by Akira Inoue the drama of the plot is more intense.

New Tale of Zatoichi (1963)

Philosophical entry in the saga

[7/10 · 15 May 2020]

The following review is an extract from the book "Shintaro Katsu´s Zatoichi: Complete guide to all movies", which is now available on Amazon.

In this third part of the Zatoichi saga, the protagonist (played by Shintaro Katsu) wants to change some things of his past, leave behind the Yakuza and correct his mistakes, returning to the town where he grew up. On the way he meets a former schoolmate, who acts as a musician singing and playing the shamisen. His childhood friend is with his wife and young son. The four stay in an inn for the night, and as Ichi sings a song with the shamisen, the place is assaulted by a gang of hooded thieves. So as not to endanger his friends and other guests, Zatoichi does not resist for the time being, and prefers the criminals to believe that he is nothing more than a poor, blind masseur (when in reality he is a prodigious swordsman, even though he lacks a sense of vision).

(...)

The third part of the Zatoichi saga has a slight philosophical background that is somewhat reminiscent of Taoism (the action of non-doing, or wu-wei). Zatoichi's apparent passivity towards Kanbei's brother, who wants revenge, provokes new reactions and events. The attitude of the protagonist is to renounce his past life and become a new man by returning to the origins, to the village where he grew up. There he will discover with disappointment that the one who trained him in the arts of fencing, the one to whom he owes his knowledge in the handling of the sword, far from being a venerable master, is actually a despot who does not hesitate to mercilessly murder unarmed people and in inferior conditions, either as a consequence of his uncontrollable anger or simply for money and material goods, in cold blood. Much more noble and honorable is the young yakuza. After verifying this, Zatoichi decides to continue his wandering life, renounces family and marriage and continues on his way with the firm intention of never returning to his village.