THE OUTSIDER aka LE MARGINAL (France - 1983) Directed by Jacques Deray. Written by Jacques Deray and Jean Herman. Cast: Jean-Paul Belmondo, Henry Silva, Carlos Sotto Mayor, Pierre Vernier, Maurice Barrier, Claude Brosset, Tcheky Karyo, Jacques Maury, Roger Dumas, Gabriel Gattand, Michel Robin, Jacques David, Jean-Louis Richard, Didier Sauvegrain, Stephane Ferrara (Unrated, 102 mins) Though he's renowned by fans of world cinema for being one of the major faces of the French New Wave in films like 1960's BREATHLESS and 1965's PIERROT LE FOU for Jean-Luc Godard, and 1964's LEON MORIN, PRIEST for Jean-Pierre Melville, Jean-Paul Belmondo is equally well-known in France for his many action movies from the early 1970s through the mid-1980s. Belmondo never really made any attempts to crack the American market despite being courted by the Hollywood studios (the closest he came was a cameo in the 1967 James Bond spoof CASINO ROYALE, and he was enough of a known celebrity then that Than Wyenn played a spy named "Paul John Mondebello" on a 1967 episode of GET SMART), but his commercial action films certainly had a mainstream appeal that managed to get a couple of them distributed stateside (1975's THE NIGHT CALLER actually got an English-dubbed wide release in the US by Columbia). While Belmondo's action films made him a megastar at home and one of France's top box office draws, French critics who admired his early, "serious" work lamented his decision to focus on mainstream popcorn movies. Born in 1933, Belmondo's persona during this career phase was that of a man's man. He did his own often jaw-droppingly dangerous stunts, dated gorgeous actresses (he was romantically linked for several years to Ursula Andress in the '60s and then Laura Antonelli in the '70s), and as the '70s went on, he became the French equivalent of a Steve McQueen, a Burt Reynolds, or a Clint Eastwood. The 1983 cop thriller THE OUTSIDER (French title: LE MARGINAL) came late in the Belmondo action cycle and is rather typical of what French audiences expected when they went to see one of his movies.
At times, it almost feels like a French version of an Italian poliziotteschi, for several reasons: Belmondo repeatedly walking into a bar or a cafe or wherever and cracking skulls like serial bitch-slapper Maurizio Merli; some ridiculous action sequences with Belmondo risking life and limb; a catchy score by Ennio Morricone, some of which would be recycled and tweaked for Roman Polanski's 1988 Paris-set thriller FRANTIC; and the presence of American guest star and polizia fixture Henry Silva as the chief villain. Belmondo is hot-headed Commissioner Philippe Jordan, a cop who--you guessed it--plays by his own rules. He's been transferred from Paris to Marseille to help bust up an extensive drug trafficking operation that's bringing the product into France. After making a splash by commandeering a chopper and jumping from it onto a speedboat (yes, Belmondo does it for real, and it's pretty hair-raising) and destroying a heroin shipment intended for distribution by powerful Paris crime boss Sauveur Meccacci (Silva), Jordan apparently ruffles enough feathers with his actions that he's threatened with being framed for the murder of a Marseille cop unless he takes a demotion and goes back to Paris. Busted down to vice (is this LE MACHINE DE SHARKY?), Jordan pisses off his new boss and most of his new colleagues by persisting in his efforts to take down Meccacci, who's got enough corrupt cops, lawyers, and judges on his payroll and under his thumb that he's completely untouchable.
When he isn't making life miserable for Meccacci's flunkies, Jordan finds other situations where he can start some trouble, like going after a pair of Turkish pimps who beat up Livia Maria Dolores (22-year-old Brazilian pop star Carlos Sotto Mayor, the 50-year-old Belmondo's girlfriend at the time), a lovely young prostitute with whom he's gotten involved; searching for an ousted gay underling of Meccacci's in a leather bar straight out of CRUISING in a scene that would probably get Belmondo cancelled today; or raiding a shithole Rue de Lyon drug den to rescue the smack-addicted teenage daughter of a perp (Maurice Barrier) he sent to prison four years earlier. THE OUTSIDER opens with a terrific foot chase down and across a busy Marseille highway, with Belmondo hopping on and off semi trucks and dodging cars like a live-action version of Frogger, and there's also one terrific Remy Julienne car chase late in the film, where an enraged Jordan caps it off by slamming his Mustang into the other car, then backing up and plowing into it again several more times to make sure Meccacci's guys are dead and their bloodied bodies crushed beyond recognition, with onlookers standing there horrified at his brutality as he just exits his car and walks away. That's how Belmondo gets it done!
Directed and co-written by Jacques Deray (BORSALINO, THE OUTSIDE MAN), THE OUTSIDER was never shown theatrically or on home video in the US until Kino's new Blu-ray (because physical media is dead), release in conjunction with Georges Lautner's THE PROFESSIONAL, another Belmondo actioner from 1981 that's been more widely available in the States. A fandub version of THE OUTSIDER has been available on the bootleg and torrent circuit for years, but the Blu-ray is in French with English subtitles (Silva spoke English on set, but he's been dubbed by a French actor, and his voice wasn't on the bootleg dub, either). Belmondo made a few more action movies, along with the 1985 bank robbery comedy HOLD-UP, which was remade by Bill Murray as 1990's QUICK CHANGE, then decided to be "serious" again in the late '80s, first by returning to the stage and then starring in a 1990 take on CYRANO DE BERGERAC and Claude Lelouch's revisionist, WWII-set LES MISERABLES in 1995. He continued acting until he suffered a stroke in 2001 and went into unofficial retirement, though he made a one-off return to the screen with 2009's little-seen A MAN AND HIS DOG, a loose remake of Vittorio De Sica's 1952 neo-realist classic UMBERTO D. Though his retirement now appears to be permanent, the 86-year-old Belmondo is still a highly visible celebrity in France, where he and old friend Alain Delon were recently brought together for an interview and photo shoot with Paris Match, to the delight of fans who've followed the iconic screen legends for the last 60 years.
Belmondo and Alain Delon in a June 2019 issue of Paris Match
Directed by Andrea Bianchi. Written by Piero Regnoli. Cast: Henry Silva, Barbara Bouchet, Fausto Tozzi, Vittorio Sanipoli, Mario Landi, Patrizia Gori, Dada Gallotti, Alfredo Pea. (Unrated, 93 mins) Titled QUELLI CHE CONTANO in Italy, which translates to the vague THE ONES WHO COUNT in English, this tawdry 1974 Eurocrime thriller was given a sleazy, drive-in-ready rechristening as CRY OF A PROSTITUTE for its 1976 US release by grindhouse outfit Joseph Brenner Associates, Inc. It's not exactly false advertising--there is an ex-prostitute who figures into the story and she indeed cries--but it probably disappointed those specifically looking for T&A trash, though audiences did end up getting a more-violent-than-usual Italian mob movie out of the deal. The great Henry Silva, who was getting a ton of work in poliziotteschi films throughout the 1970s, is Sicilian-born hit man Tony Ariante, who returns to his rural Sicily village birthplace after spending years with the American mob in Brooklyn. He's back at the behest of Don Cascemi (Vittorio Sanipoli), who wants to start a war between two other bosses, Don Cantimo (Fausto Tozzi) and Don Scannapieco (Mario Landi). The three warring dons have gotten involved in the drug trade, though Cascemi and Tony are appalled that the bodies of dead kids are being used to move junk back and forth between Europe and America. In classic YOJIMBO fashion, Tony plays both sides against the other ("Whose side are you on?" Scannapieco asks, to which Tony replies "The winner") and things escalate when he steps in and offs three goons who try to kill Don Scannapieco's handicapped son Zino (Alfredo Pea). If that's not enough, Tony's lured into a sadomasochistic fling with Don Cantimo's alcoholic, nympho wife Margie (Barbara Bouchet), the former prostitute of the title, who ropes Tony in by gently fellating the tip of a peeled banana at the dinner table. Fortunately for Tony, Don Cantimo gets off on being a cuckold, demanding dirty-talk confessionals about her extramarital flings while they have sex ("God, what a whore you are!" he ecstatically moans in the velvet tones of veteran voice dubber Michael Forest). Tony doesn't have time for romance, instead opting to anally rape Margie in the barn while beating her and forcing her face-first into the gutted, raw carcass of a hung-up pig in a scene so wrong in so many ways that it has to be seen to be believed.
The casually cruel nature of CRY OF A PROSTITUTE shouldn't be a surprise since it's directed by Italian trash auteur Andrea Bianchi, whose later films include the charming 1975 giallo STRIP NUDE FOR YOUR KILLER, the sleazy 1979 supernatural horror/porno crossover MALABIMBA: THE MALICIOUS WHORE, and the 1981 zombie incest masterpiece BURIAL GROUND. Silva plays one of the most vile sociopaths of his career, possibly even more despicable than the similarly nihilistic asshole he played in Fernando Di Leo's THE BOSS, aka WIPEOUT!, a year earlier, the difference being that Tony's the hero. Not only is there the extremely brutal sodomy scene in the barn, but he also later whips Margie with his belt, finishing her off with a few thwacks across her face with the buckle (the end result adorned Joseph Brenner's US poster art, which would not fly today). He also finds it's not enough to kill a couple of rival gangsters, but he also has to drive over and flatten them with a conveniently-available steamroller. The only thing that makes Tony even slightly human is the small amount of sympathy he feels for the helpless Zino, and a surprise reveal at the end tries to justify Tony's actions, but it's pretty hard to excuse his--or the film's--treatment of the pathetic Margie, played by the gorgeous Bouchet at her least glamorous. After opening with an instant classic decapitation, CRY OF A PROSTITUTE is a little slow-going and predictable for a while, but Bianchi clearly gets bored and starts going increasingly over-the-top in ways that make Silva's next Eurocrime gig--Umberto Lenzi's incredible ALMOST HUMAN--seem tame by comparison. Whether it's the misogynistic sexual violence, the pervy antics of Don Cantimo, or the insane killings (another guy gets his head split when it's pushed through a band saw), CRY OF A PROSTITUTE never resists a chance to go for shock value.
It also takes advantage of its rural, old-country setting by essentially making the story a spaghetti western in poliziotteschi disguise, from Tony's FISTFUL OF DOLLARS machinations to his climactic resurrection to take on Don Cantimo's men after he's presumed dead. Also noteworthy to the spaghetti western motif is Tony's ominous whistling before the kill, an obvious nod to Charles Bronson's Harmonica in Sergio Leone's ONCE UPON A TIME IN THE WEST. There's some good ideas in Piero Regnoli's script but Bianchi, by all accounts still with us at 90 though long-retired from the movies, is just too rude and crude to pull off any notion of stylistic, genre-melding subtleties. In the relatively controlled hands of a Di Leo, an Enzo G. Castellari (STREET LAW), or a more politically-minded genre figure like a Damiano Damiani (CONFESSIONS OF A POLICE CAPTAIN), CRY OF A PROSTITUTE could've been a much smarter film. But Andrea Bianchi never did subtle or smart, so it still scores as unabashed drive-in garbage, which is fine on its own. It also offers an essential Silva performance, with the actor getting in one of his signature, emphatic "MotherFUCKER!" bellowings ("Will you please clean my shoes?") that have retroactively made him the Samuel L. Jackson of Eurocrime.
Newspaper ad for CRY OF A PROSTITUTE, opening in Toledo, OH on 6/2/1977, significantly toned down from the brutal one-sheet art.
With the possible exception of Umberto Lenzi's incredible 1976 Maurizio Merli ragefest ROME ARMED TO THE TEETH (aka THE TOUGH ONES), the director's ALMOST HUMAN is probably the greatest of the 1970s Italian poliziotteschi crime movies. Astonishingly mean and unrepentantly nasty, even with some of its more transgressive offenses--the main villain forcing a male hostage to blow him at gunpoint--clearly implied but taking place offscreen, ALMOST HUMAN exists on its own special plane of misanthropy. Tomas Milian is Giulio Sacchi, a vile worm of a whining, pathetic lowlife in Milan's underworld, a twitchy loose screw and a psychotic fuck-up who can't even handle the simplest task without losing his shit--he overreacts and kills cops on two separate occasions in the first ten minutes of the movie--and causing trouble for boss Majone (Luciano Catenacci). Full of self-aggrandizing hot air and tired of small scores and subsisting on Majone's table scraps, Giulio pressures his dim-witted sometime-girlfriend Iona (Anita Strindberg) for information on Mary Lou (Laura Belli), the daughter of her wealthy boss Porrino (Guido Alberti), with the intention of kidnapping her for a hefty ransom. Because Giulio and his equally thick-skulled, impulsive sidekicks Carmine (Ray Lovelock) and Vittorio (Gino Santercole) can't do anything right, the entire plan collapses on itself, and with a quickly-escalating body count, it's only a matter of time before angry detective Grandi (Henry Silva) realizes Giulio is behind all the mayhem.
Shot under the Italian MILANO ODIA, which translates literally to the very appropriate "Milan Hates," the film was released in the US by Joseph Brenner from 1975 to 1979 under a variety of titles like THE KIDNAP OF MARY LOU and THE DEATH DEALER. Brenner relaunched it again in 1980 under the ALMOST HUMAN moniker, which saw the film absurdly being sold as a horror movie ("It doesn't matter how loud you scream"). That title seems to have stuck and is what the film is best known by these days, but not since career con man Edward L. Montoro's Film Ventures released 1973's acid-bathed RICCO THE MEAN MACHINE in the US in 1979 as THE CAULDRON OF DEATH ("Pray it doesn't happen to you!") was a Eurotrash crime movie more fraudulently peddled to unsuspecting audiences. ALMOST HUMAN is a masterpiece of seething rage and completely unlikable characters. Even the "hero"--Silva's irate Grandi--is a hot-tempered asshole, but he's the most upstanding asshole around (and nobody, and I mean nobody--not even Samuel L. Jackson--belts out a "motherfucker" like Henry Silva). Even dubbed by veteran voice actor Frank von Kuegelgen, Milian is one of the most weaselly, loathsome bad guys you'll ever see, one whose quick solution to everything is to make matters even worse and dig the hole deeper. To say he gets his comeuppance in the best possible location is an understatement, and a scathing critique on exactly what Lenzi and screenwriter Ernesto Gastaldi thought of the character. It's foul, it's trashy, and there's no redeeming qualities to any of its characters--in other words, ALMOST HUMAN is mandatory viewing, and an excellent place to start if you're new to the demented joys of poliziotteschi. (R, 99 mins)
After achieving crossover success with Cannon's surprise smash MISSING IN ACTION (1984), martial-arts star Chuck Norris came as close as he ever got to the A-list with 1985's tough, gritty Chicago cop movie CODE OF SILENCE. Originally a DIRTY HARRY script pitched to Clint Eastwood in 1979, CODE was reworked for Norris and was also the first success of director Andrew Davis, who would helm Steven Seagal's hits ABOVE THE LAW (1988) and UNDER SIEGE (1992) before hitting the big time with THE FUGITIVE (1993). Norris is Eddie Cusack, a dedicated Chicago cop who plays by his own rules, much to the irritation of his perpetually grumpy captain (Bert Remsen). An intricately-coordinated drug bust goes south after low-level mobster Tony Luna (Mike Genovese) massacres everyone at the buy, including a cop and some members from the Camacho crime family, which doesn't rest well with the ruthless Luis Camacho (Henry Silva). This starts a gang war that results in Luna's daughter (Molly Hagan) being abducted by Camacho's goons, but Cusack's got other issues, like becoming a department pariah after he refuses to go along with the incompetence of boozing, burned-out detective Cragie (Ralph Foody), who impulsively shot an innocent kid and planted a gun on him to cover his ass. When it's revealed that Cusack broke the unspoken "code of silence" when he recommended the aging Cragie be busted down to desk duty, he's forced to take on the Luna and Camacho families alone when none of the other cops will respond to his calls for backup.
Davis has always excelled as a Chicago director, and his love of the city comes through in CODE OF SILENCE. Scenes are set in iconic Windy City locations and there's supporting roles for ubiquitous Chicago-based character actors like Ron Dean and a then-unknown Dennis Farina, who was still a full-time cop moonlighting as an actor when he made this. Norris was never more convincing as an actor than he was here, but even though CODE OF SILENCE was a hit for Orion Pictures, the star went straight back to Cannon for the same year's entertaining but significantly less plausible INVASION U.S.A. and stayed with Golan & Globus for the rest of his big-screen heyday. CODE OF SILENCE is filled with tough action and terrific old-school action sequences, with Norris doing his own stunts in a great foot chase atop a train, where he moves with careful hesitation, not like an indestructible badass but like someone would if they were really in that situation. CODE's only stumble comes when Cusack breaks out the Prowler, the department's remote-controlled, tank-like robotic cop prototype to use in his ambush of Camacho's shipyard HQ, but other than that concession to being a product of 1985 (hey, at least the Prowler doesn't talk), CODE OF SILENCE is Norris' best film and one of the very best cop movies of the 1980s. Davis, who would call upon the legendary Silva's expertise as a bad guy for ABOVE THE LAW three years later, failed to capitalize on the huge success he had with THE FUGITIVE, moving on to two flops--1995's STEAL BIG STEAL LITTLE and 1996's CHAIN REACTION and only getting one more hit thus far with 2003's HOLES, based on the popular YA novel. Now 69, he hasn't directed a film since the 2006 Kevin Costner/Ashton Kutcher nautical actioner THE GUARDIAN. (R, 101 mins)
A year after playing memorable bad guy Mr. Joshua in the smash hit LETHAL WEAPON and about six months before the motorcycle accident that would be the first step in turning him into a walking punchline, Gary Busey got to headline the ridiculous LETHAL WEAPON ripoff BULLETPROOF. Trying and failing to introduce the pejorative "butthorn" into the lexicon ("Your worst nightmare, butthorn!"), Busey--an Academy Award-nominee a decade earlier for THE BUDDY HOLLY STORY--is Frank "Bulletproof" McBain, a sax-playing, renegade L.A. cop who plays by his own rules, prompting his straight-arrow partner Roger Murtaugh, er, I mean, Billy Dunbar (Thalmus Rasulala) to go through his entire allowance of "Dammit, McBain!"'s in the first five minutes of the movie. Bulletproof is such a badass that he has a collection of self-removed bullets he keeps in a jar in his medicine cabinet (you see, because he's "Bulletproof"). Bulletproof turns out to be ex-CIA, and he's called back into action when a military convoy in Mexico is taken over by a generic consortium of Arab and Latin American terrorists led by Col. Kartiff (Henry Silva). Kartiff wants what the convoy is transporting--a high-tech, experimental supertank called the MBT Thunderblast. Of course, among the military officers taken hostage is Devon (Darlanne Fluegel), who happens to Bulletproof's one-that-got-away. She was also the ex of his old CIA partner, who was killed by a Russian goon (William Smith, essentially playing the same role he did in RED DAWN), now a Soviet general in cahoots with Kartiff.
BULLETPROOF shifts into RAMBO III territory midway through, with Bulletproof making his way to Mexico to rescue the hostages and commandeer the MBT Thunderblast, stopping just short of draping himself in the American flag to take on the commies and the "Ay-rabs," as R.G. Armstrong's CIA honcho calls them. Armstrong, L.Q. Jones, and Luke Askew turn up in supporting roles, adding further evidence to support my hypothesis that the three grizzled character actors shared a house with a Three Stooges-style triple-stacked bunk bed and got gigs in B-movies as a package deal. It can't be a coincidence that BULLETPROOF is as absurd as any of Rainier Wolfcastle's MCBAIN vehicles on THE SIMPSONS, but it also helps that McBain is just a great name for a pissed-off police captain to shout, as Lincoln Kilpatrick (in the blustering Frank McRae role) gets to do with an early "Cut the shit, McBain!" BULLETPROOF has to be one of the most sublimely stupid action films of the 1980s, and even though it bombed in theaters in the summer of 1988, it's a great crowd movie, filled with idiotic one-liners ("Bird season's over, butthorn!" Bulletproof declares before blowing three dudes away), over-the-top action scenes (a getaway ice-cream truck explodes, Bulletproof screeches to a halt in the chase car, cue the '80s sax lick), and stereotypical, one-dimensional evildoers (Islamic extremists! Commies! Mexicans!) straight out of the deepest recesses of a Donald Trump voter's spank bank. Fred Olen Ray was originally set to direct--he retains a story and associate producer credit--but was replaced by veteran action guy Steve Carver (BIG BAD MAMA, AN EYE FOR AN EYE, LONE WOLF MCQUADE) just prior to filming. Also with Rene Enriquez, Mills Watson, Lydie Denier, Cary-Hiroyuki Tagawa, Danny Trejo, and Juan Fernandez, aka "that shitbag Duke" from Charles Bronson's KINJITE. The awesome BULLETPROOF is a must-see and is right up there with 1986's EYE OF THE TIGER as essential B-movie Busey, butthorn! (R, 94 mins)
THE NEW BARBARIANS aka WARRIORS OF THE WASTELAND (Italy - 1983; US release 1984) Directed by Enzo G. Castellari. Written by Tito Carpi and Enzo Girolami (Enzo G. Castellari). Cast: Timothy Brent (Giancarlo Prete), Fred Williamson, George Eastman (Luigi Montefiori), Anna Kanakis, Thomas Moore (Enio Girolami), Venantino Venantini, Massimo Vanni, Giovanni Frezza, Iris Peynado, Andrea Coppola, Zora Kerova, Fulvio Mingozzi, Stefania Girolami, Paul Costello. (R, 91 mins)
Affectionately but often mistakenly considered by fans and historians to be part of the non-existent "BRONX WARRIORS trilogy," Enzo G. Castellari's THE NEW BARBARIANS is also the only actual ROAD WARRIOR-inspired post-nuke of the three films in question and has no relation to the other films aside from being directed by Castellari. It was shot between 1990: THE BRONX WARRIORS (1982) and ESCAPE FROM THE BRONX (1983), but rather than post-apocalyptic, the two BRONX films were closer in setting and tone to Walter Hill's THE WARRIORS (1979) and John Carpenter's ESCAPE FROM NEW YORK (1981), with their then-futuristic setting (the sequel ESCAPE FROM THE BRONX takes place ten years after the events of 1990: THE BRONX WARRIORS) perhaps misleading people into lumping it in with all the post-nukes being made at the time. THE NEW BARBARIANS was Castellari's only entry in the Italian post-nuke cycle, and while it features all the expected crazy cars and futuristic, rocket-launching dune buggies, post-nuke despots, nomadic heroes, and that same desert portraying the same scorched-earth wasteland, it also stands alone in its subgenre. Taking what others might use as a subtle subtext and bringing it to the forefront as a major plot point, THE NEW BARBARIANS is the CRUISING of Italian post-nuke ripoffs.
Set in 2019, several years after the nuclear holocaust, the world is a desert with scattered bands of survivors trying to rebuild and restart the human race. That doesn't work for One (Luigi Montefiori/George Eastman), the tyrannical leader of the Templars, the "high priests of death" and the "warriors of vengeance," a brutal, militarized squad of hilariously-coiffed psychos bent on making the living pay for the crime of being alive. It is One's goal that "the seed of man will be canceled forever from the face of the earth." It's telling that there's only men in the Templars, and that One's goal is zero population growth. Enter Scorpion (Giancarlo Prete, billed as "Timothy Brent" and looking like a post-apocalyptic Bert Convy), a nomadic warrior with a giant plastic bubble on top of his car. Scorpion tries to help a wandering group of survivors that includes Alma (Anna Kanakis of 2019: AFTER THE FALL OF NEW YORK), and gets help from two other post-nuke loner mercenaries, the tough-as-nails Nadir (Fred Williamson) and a fix-it-all kid mechanic (THE HOUSE BY THE CEMETERY's Giovanni Frezza) who also helps build a bullet-and-laser-proof body torso shield for Scorpion in his final battle against the Templars.
Action-wise, THE NEW BARBARIANS is pretty much business as usual: there's a ton of wrecked vehicles, car chases, explosions, smashed faces, heads are sliced and blown off, and there's no shortage of amusing dummy deaths and silly contraptions, like Scorpion's clear, illuminated, portable fuck-pad that comes in handy when he meets Alma. It looks like a portable, see-through bounce house, but Castellari intercutting the sex scene with Scorpion and Alma's prior discussion of their lives over a campfire is a less explicit homage to DON'T LOOK NOW and an interesting precursor to the similar and very praised George Clooney-Jennifer Lopez love scene in Steven Soderbergh's OUT OF SIGHT (1998). You get the feeling that there's some strong sexual undercurrent to THE NEW BARBARIANS with Castellari's abundance of weaponry protruding and extending from speeding vehicles like some kind of post-nuke Cialis commercial, but that's just a warm-up for what happens later. Where the film differentiates itself from overcrowded Italian post-nuke scene is its open depiction of the homosexual villains. One, clearly crushing on Scorpion, keeps trying to get him to join the Templars, but is only met with rejection. Their sexual preference--or at least the preference of One, who seems to rule his men by force and coercion--is not from innate desire for other men but to avoid the possibility of procreation and to have the world end. Late in the film, One gets so fed up with Scorpion that he has him strung up, and forcibly "initiates" him into the Templars via anal rape, a ceremony the rest of the Templars seem to know all too well. It's only after this humiliation and emasculation (along with some vaguely homophobic ballbusting from Nadir) that Scorpion rises like an avenging angel and decides to take out the Templars once and for all. It's here that THE NEW BARBARIANS vacillates between a post-apocalyptic spaghetti western with Scorpion, Nadir, and the kid mechanic forming the requisite unholy alliance, and a post-nuke DELIVERANCE as Nadir and the kid step aside and let Scorpion handle One on his own. Scorpion's final revenge on One is about as twistedly funny as this subgenre would ever get: a car chase with Scorpion barreling up on One, and an erect drill-like mechanism penetrating the back of One's ride and right through the lower part of the driver's seat, literally plowing through One's ass and ripping it apart.
ESCAPE FROM THE BRONX (Italy - 1983/US release 1985) Directed by Enzo G. Castellari. Written by Tito Carpi and Enzo G. Castellari. Cast: Mark Gregory, Henry Silva, Valeria D'Obici, Antonio Sabato, Paolo Malco, Timothy Brent (Giancarlo Prete), Thomas Moore (Enio Girolami), Massimo Vanni, Alessandro Prete, Romano Puppo, Eva Czenerys, Andrea Coppola, Moana Pozzi, Carla Brait, Thomas Felleghy, Martin Sorrentino, James Sampson, Paul Costello. (R, 90 mins)
THE NEW BARBARIANS opened in Italy in July 1983 and it would be picked up by a pre-NIGHTMARE ON ELM STREET New Line Cinema, who rechristened it with the much snappier WARRIORS OF THE WASTELAND for its January 1984 release in US theaters. ESCAPE FROM THE BRONX was released in Italy in August 1983, just a month after THE NEW BARBARIANS, and like that film, New Line would also acquire it for the US, rolling it out in January 1985, minus some of the more excessive gore to secure an R rating. ESCAPE is an an enjoyable follow-up to BRONX WARRIORS, though it's not quite as good. Set in the year 2000, it involves a plot by an evil corporation overseen by Clark (Castellari's brother Enio Girolami, billed as "Thomas Moore") to gentrify the Bronx and relocate its denizens to lovely, scenic New Mexico. In truth, he's ordered armed "disinfesters" led by renegade cop Floyd Wangler (Henry Silva, in a slightly reworked version of Vic Morrow's Hammer the Exterminator from BRONX WARRIORS), to corral and exterminate the remaining residents. After his parents are killed, Trash (a returning Mark Gregory), who's now a nomadic warrior thanks to his entire gang being wiped out in the previous film, teams up with mercenary Strike (Giancarlo Prete), his dutiful son Strike Jr (Prete's son Alessandro), affable gang leader Dablone (Antonio Sabato), and crusading reporter Moon (Valeria D'Obici) to take on Clark, his ambitious second-in-command Hoffman (Paolo Malco), and mad dog Wangler, who spits coffee, berates everyone, and acts insane, because he's played by Henry Silva. Like its predecessor, ESCAPE isn't really a post-nuke outing, but everyone seems OK with letting them into the club. With less location shooting in the Bronx and more set work done at Cinecitta, ESCAPE is able to have a more dystopian feel than the urban war-zone immediacy of BRONX WARRIORS. Gregory was only 17 when BRONX WARRIORS was shot, and though it's just a year later, he looks a bit older and seems much more composed and comfortable compared to his awkward presence in the first film. ESCAPE FROM THE BRONX was featured on MST3K under the title ESCAPE 2000 (not to be confused with the Brian Trenchard-Smith film) and indeed has no shortage of amusing elements, from unconvincing miniatures to constant explosions to Silva's overacting to Trash's parents having a huge Mark Gregory-as-Trash poster adorning their living room wall.
The so-called "BRONX WARRIORS trilogy" has just been released in Blu-ray/DVD combo sets by Blue Underground (to their credit, they don't use the "trilogy" moniker) in impressive new transfers and bonus features. Castellari previously recorded commentaries for the Media Blasters/Shriek Show DVD editions of 1990: THE BRONX WARRIORS and THE NEW BARBARIANS from a decade ago, but has recorded new tracks for these editions. There's a lot of repeat info, but Castellari, even with his heavily-accented English (his son and former production assistant Andrea Girolami, completely fluent and with barely an accent, is on hand to occasionally help him find the right words), is such a likable presence and entertaining raconteur and has enough new material that they're worth hearing. This marks ESCAPE FROM THE BRONX's first appearance on DVD or Blu-ray in the US, and it's the uncensored version with all of the New Line-trimmed violence intact. All three titles feature an "In Conversation" featurette with Castellari and producer Fabrizio De Angelis in 2015, discussing the films and reminiscing about the productions, with plenty of interesting anecdotes for fans.
THE VIOLENT BREED (Italy - 1984) Directed by Fernando Di Leo. Written by Nino Marino and Fernando Di Leo. Cast: Henry Silva, Harrison Muller, Woody Strode, Carole Andre, Debora Keith, Danika, Hector Wells, Loris Bartock, Serge Doran, Adrian Jeffries. (R, 91 mins) In recent years, there's been a resurgence of interest in poliziotteschi--Italian crime films of the 1970s, the subject of the recent documentary EUROCRIME!--and in particular the work of Fernando Di Leo (1932-2003), one of the most prominent figures in the movement. Di Leo began his career as a screenwriter on spaghetti westerns like NAVAJO JOE (1966), HATE FOR HATE (1967), and BEYOND THE LAW (1968), but it was the politically-charged crime thrillers that he wrote and directed in the 1970s that have cemented his place in genre history. Four of his best-known films were collected in Raro USA's acclaimed 2011 DVD and Blu-ray box set FERNANDO DI LEO: THE ITALIAN CRIME COLLECTION. Compiling Di Leo's essential "Milieu Trilogy" of CALIBER 9 (1972), THE ITALIAN CONNECTION (1973), and THE BOSS, aka WIPEOUT! (1973) with the bonus film RULERS OF THE CITY, aka MISTER SCARFACE (1976), the first Di Leo set made an airtight case that the filmmaker, with his recurrent themes of nihilism, corruption, and Italy in chaos, his ability to stage an exciting action sequence, and his expert use of actors (so long as you don't count the impossibly Irish Cyril Cusack as a NYC Mafia don in THE ITALIAN CONNECTION), was deserving of respect and serious study.
Raro released a second volume of Di Leo crime films in 2013, featuring the excellent SHOOT FIRST, DIE LATER (1974), which has since had a couple of airings on Turner Classic Movies, the decent but unspectacular KIDNAP SYNDICATE (1975), and the disappointing NAKED VIOLENCE (1969), a controversial film in Italy in its day that's interesting for Di Leo completists, but is more of a giallo and really has no business in a set representing Di Leo's crime films. Di Leo's cynicism and his view of society and humanity as inherently and irredeemably evil reached its apex in 1978's TO BE TWENTY, which spends about 85 minutes being a fluffy, lighthearted sex comedy about the wild and wacky misadventures of two nubile teenage girls...who end up getting viciously gang-raped and slaughtered in the final five minutes when Di Leo smacks the viewer upside the head by abruptly turning it into THE LAST HOUSE ON THE LEFT (the film was also released in a differently-edited version that completely eliminated Di Leo's intended shock ending). Di Leo scripted Ruggero Deodato's excellent polizia LIVE LIKE A COP, DIE LIKE A MAN (1976), but after TO BE TWENTY, his career more or less fizzled. He explored some more LAST HOUSE-type territory in 1980's MADNESS and did a couple of hired-gun TV gigs, but by the middle of the decade, he would eventually retire from filmmaking altogether after the little-seen 1985 actioner KILLER VS. KILLERS, aka DEATH COMMANDO. He gave interviews for some Italian DVD releases before his death in 2003, some of which made their way to the later US-released Raro sets. Though he was largely a typically genre-hopping journeyman, the polizia explosion in the early-to-mid 1970s helped Di Leo carve a niche for himself, very much the same way that Lucio Fulci found his true calling with the cinematic zombie outbreak in the early 1980s.
Di Leo's penultimate film, THE VIOLENT BREED, finds him hitching a ride on the then in-vogue Namsploitation and commando explosion bandwagon that kept Antonio Margheriti busy throughout the '80s. A few elements of Di Leo's misanthropic worldview are on display--most notably an admittedly chilling and effective scene where the villain mows down some peasants after taking over their village--and the abrupt, ineptly-executed twist ending seems to be making some muddled statement about government corruption, but for the most part, THE VIOLENT BREED is probably Di Leo's worst film. If he was growing disillusioned enough to retire a year later, then THE VIOLENT BREED may very well be a significant reason why. Produced by busy '80s Italian schlock king Ettore Spagnuolo, the film was shot in the summer of 1983 in NYC, Rome, and Bangkok, and was acquired by Cannon, who released it in the US in 1984. It opens during the Vietnam War as a band of soldiers led by Kirk Cooper (Henry Silva) rescue some refugee children who all seem to be dressed in conspicuously early '80s attire. Cooper and fellow soldier Mike Martin (Harrison Muller) are shocked when their buddy Polo (Woody Strode) sends them on their way and tells them he's staying behind as he promptly deserts and vanishes in the jungle. Years later, Cooper is a big shot with the CIA and gets some intel that Polo is running a complicated drugs-weapons-prostitution empire centered in the fabled Golden Triangle in Southeast Asia. He's getting help from both the KGB and the Mafia, and Cooper sends top agent Martin into dangerous territory to eliminate Polo's operation and settle some old scores.
Di Leo just never gets things going with THE VIOLENT BREED. It has some enthusiastic blood and squib effects late in the game and some early NYC location shooting shows a theater with a ZABRISKIE POINT/BLOW-UP Antonioni retrospective, but overall, it's cheap-looking and Di Leo's disinterest is obvious. He never once gives this the gritty feel that his polizia classics displayed. Di Leo's direction is uncharacteristically lazy and corner-cutting: in the early Vietnam scenes, Polo sends Martin to "get some bandages," and all Muller does is walk out of frame and pop right back in with the bandages, probably handed to him just out of camera view by Di Leo. In another instance, one of Polo's stooges is keeping a sharp eye out for Martin, who just saunters into the frame and shoots him. Wouldn't the guy see him coming? Maybe Sergio Leone can get away with a move like that, but it doesn't play here. The climax, which goes on forever, has Martin and one of Polo's captive prostitutes (Debora Keith) running from one yellow cabin to another in Polo's supposedly massive compound, but it's clear from the cutting that they're just running into the same cabin over and over again like an unintentional homage to a Hanna-Barbera wraparound background. The size of Polo's compound is never convincingly conveyed. Instead, it looks like what it is: Muller and Keith repeatedly running into the same structure and Strode's Polo and his men driving their Jeeps around in circles. There's also an odd amount of long shots of people awkwardly standing around or walking into buildings, almost like it's second-unit footage that was supposed to have been whittled down to give it some semblance of pacing.
Silva, Di Leo, and Strode in better days, during the
filming of THE ITALIAN CONNECTION
THE VIOLENT BREED is badly-made and badly-edited, and the performances are terrible across the board. After the opening sequence, where he gets to indulge in some customary overacting while getting a bullet scooped out of his chest, Silva is seen only fleetingly, occasionally popping up to grit his teeth and look irritable at the CIA command center, which looks exactly like a conference room at the budget-priced hotel where Spagnuolo had the cast and crew booked. This is also where Cooper and some CIA officials keep tabs on Miller's progress, which realistically would take days or weeks, but Silva and the actors playing the CIA officials are always shown wearing the same clothes in these cutaways--a clear indicator that these shots were likely knocked out in a few hours and Di Leo failed to consider or simply didn't care enough to have them change clothes. Silva's looping of his dialogue sounds halting, groggy, and half-asleep, and it's doubtul that he put in more than a few days' work on this.
Strode (1914-1994) is actually in THE VIOLENT BREED quite a bit, though his voice was dubbed by the gruff Ed Mannix. And, at nearly 70 years of age, he's likely the oldest grunt in the entire Namsploitation subgenre. Prior to being an actor, Strode excelled in multiple sports, and was a noted college football star who made NFL history as one of the first four men to break the league's color barrier when he was signed by the Los Angeles Rams in 1946 after a 13-year ban on black players. He was also a symbol of stereotype-shattering progress in black Hollywood, as well as a Golden Globe nominee for Stanley Kubrick's SPARTACUS (1960), and a prominent member of John Ford's stock company. But by the 1980s, he was reduced to appearing in some truly terrible Italian D-movies, with the low point being his entire performance in the 1984 Italian post-nuke THE FINAL EXECUTIONER (where he's dubbed by gravelly-voiced Robert Spafford) being revoiced and recycled into 1989's very similar THE BRONX EXECUTIONER, probably without the actor's knowledge or financial benefit. Both Silva and Strode fared much better as a pair of NYC hit men hunting down an Italian mobster in Di Leo's THE ITALIAN CONNECTION, and they also worked with the director separately, with Silva starring in THE BOSS and KILLER VS. KILLERS, and Strode appearing in the lighthearted LOADED GUNS (1975). In the late '90s, Xenon Home Video, a company largely focused on "urban"-themed fare, tried to cash in on the burgeoning, I'M BOUT IT-inspired rapsploitation scene by re-releasing THE VIOLENT BREED under the absurd new title REAL SOULJA, with a now-top-billed Strode prominently displayed on the box art.
Little is known these days about American actor Muller. Born in 1955, his parents were post-Vaudeville entertainers in the 1940s and 1950s, with his father--also named Harrison Muller--a well-known dancer and an occasional guest on THE GEORGE BURNS AND GRACIE ALLEN SHOW. Like his older sister, actress Nadia Cassini (PULP, STARCRASH), Muller Jr.'s short-lived acting career was spent almost entirely in Italy, with only a bit part in the Christopher Reeve flop MONSIGNOR (1982) and a supporting role in the 1983 Pia Zadora bomb THE LONELY LADY allowing him the slightest whiff of a Hollywood breakthrough. Muller found a niche in low-grade Italian ripoffs like the post-nuke offerings 2020: TEXAS GLADIATORS (1982), WARRIOR OF THE LOST WORLD (1983), SHE (1985), and THE FINAL EXECUTIONER. He also co-starred in the 1983 CONAN ripoff THE THRONE OF FIRE, produced by Spagnuolo, who spent a good chunk of the 1980s unsuccessfully trying to turn Muller into an action star. Muller took a few years off after THE VIOLENT BREED and THE FINAL EXECUTIONER (though released in 1985, the insane SHE was shot in 1982), and returned in 1989 with pair of back-to-back Spagnuolo productions that teamed him with none other than SHAFT himself, Richard Roundtree. MIAMI COPS, directed by the legendarily incompetent Alfonso Brescia (Al Bradley) and released in the US by Cannon, tried very hard to be an Italian ripoff of MIAMI VICE, keeping its fingers crossed that however few viewers it mustered wouldn't notice that many of its exteriors were actually shot in the decidedly un-Miami-like Detroit. GETTING EVEN, directed by Leandro Lucchetti and released by Menahem Golan's doomed post-Cannon outfit 21st Century, had Roundtree and Muller going after a serial killing Vietnam buddy, trailing him from NYC to Thailand, which gave Spagnuolo the perfect excuse to recycle a long action sequence in Polo's compound from THE VIOLENT BREED, intercutting it with badly-integrated new footage of Roundtree standing by himself lobbing grenades. Spagnuolo even went so far as to cast Debora Keith in GETTING EVEN simply because she was in the footage he was borrowing from THE VIOLENT BREED (it's worth noting that these are Keith's only two film credits). After these last two action duds, Muller pulled a Mark Gregory and fell off the face of the planet, his legacy buried near the bottom of the VHS Glory Days scrap heap, his films remembered only by the most ardent devotees of the justifiably obscure and the deepest cuts in the bottomless back catalog of '80s Italian exploitation ripoffs.
In other words, he's gotta have some stories to tell. In the unlikely event you're reading this, Mr. Muller, I extend an open invitation for a career-spanning interview covering your adventures in the wild world of 1980s Eurotrash cinema.
KING SOLOMON'S MINES (US - 1985) Directed by J. Lee Thompson. Written by Gene Quintano and James R. Silke. Cast: Richard Chamberlain, Sharon Stone, Herbert Lom, John Rhys Davies, Ken Gampu, Shai K. Ophir, June Bethulezi, Sam Williams, Bernard Archard. (PG-13, 100 mins)
Menahem Golan and Yoram Globus wanted Cannon to have its own Indiana Jones, and the answer came in the form of Allan Quartermain, the heroic adventurer and protagonist of H. Rider Haggard's 1885 novel King Solomon's Mines and a subsequent series of adventures. Cannon's KING SOLOMON'S MINES was released on November 22, 1985, in time to celebrate the 100th anniversary of the novel. It opened at #1 at the box office and stayed in the top ten for several weeks, proof that the public was still jonesing for some RAIDERS OF THE LOST ARK and INDIANA JONES AND THE TEMPLE OF DOOM-style adventure. It proved to be one of Cannon's bigger successes, despite almost across-the-board negative reviews that dismissed it as a RAIDERS knockoff. Well, of course it was. That was the whole point.
What gave KING SOLOMON'S MINES a little more appeal to moviegoers was the presence of Richard Chamberlain as Quatermain. The 51-year-old actor had appeared in many critically-heralded and/or financially successful films over his career, ranging from PETULIA (1968), THE MUSIC LOVERS (1970), THE THREE MUSKETEERS (1973), THE FOUR MUSKETEERS (1974), THE TOWERING INFERNO (1974), THE LAST WAVE (1977), as well as the bad-movie classic THE SWARM (1978). However, with rare exception (THE MUSIC LOVERS, THE LAST WAVE), Chamberlain was usually part of an ensemble and not the lead in feature films and ended up enjoying his biggest successes on the small screen. He starred in the popular NBC series DR. KILDARE from 1961 to 1966, getting his breakout role after two other up-and-comers--William Shatner and James Franciscus--turned it down. After appearing in several big-screen movies, the success of the two MUSKETEERS films got Chamberlain two expensive TV adaptations of other Alexandre Dumas works for NBC: THE COUNT OF MONTE-CRISTO (1975) and THE MAN IN THE IRON MASK (1977). In 1980, Chamberlain hit his career pinnacle with the gargantuan NBC mini-series SHOGUN, based on James Clavell's best-selling novel. SHOGUN captivated America and established Chamberlain as the king of the mini-series, the extended, multi-part format made popular by ROOTS (1977), JESUS OF NAZARETH (1977), and CENTENNIAL (1978), the latter featuring Chamberlain as part of its large cast. While it's difficult for those accustomed to today's technological conveniences and the internet and the ease of binge-watching to fathom a time when homes didn't have DVRs or even the ancient relic known as the VCR, America did indeed drop what it was doing and, for five consecutive nights in September 1980, orchestrated their lives around Richard Chamberlain and SHOGUN. Chamberlain was bigger than ever, and it led to ABC mini-series THE THORN BIRDS, another phenomenal success that had audiences glued to their TVs for four nights in March 1983.
Chamberlain would go on to other mini-series and prestige TV projects--1985's WALLENBERG: A HERO'S STORY for NBC, 1986's DREAM WEST for CBS, and 1987's CASANOVA for ABC--and in 1988, nearly a decade and a half before Matt Damon popularized the character, he would become the first Jason Bourne in the ABC mini-series adaptation of THE BOURNE IDENTITY but, while people tuned in, these later projects didn't pull in the ratings of SHOGUN and THE THORN BIRDS. Chamberlain starred in the one-season CBS series ISLAND SON in 1989 and his output slowed after that. He starred in CBS' TV-movie THE THORN BIRDS: THE MISSING YEARS in 1996, but for most of that decade, he focused on stage work. He occasionally popped up in a made-for-TV movie like ABC's remake of NIGHT OF THE HUNTER (1991) or a late-comer mini-series like CBS' TOO RICH: THE SECRET LIFE OF DORIS DUKE (1999), where he played the faithful butler and companion of the billionaire tobacco heiress, played by Lauren Bacall, but he generally stayed out of the limelight and gravitated to stage work, possibly due to offers dissipating with age as he entered his 60s, but probably more likely because of persistent rumors that the very private actor was gay. A 1989 People article more or less outed him, but Chamberlain never publicly confirmed it until his 2003 memoir Shattered Love. In the years since, the now-80-year-old Chamberlain has had small roles in a few indie films that didn't expand much beyond the festival circuit, guest spots on TV shows like WILL & GRACE, NIP/TUCK, and DESPERATE HOUSEWIVES, as well as recurring roles on CHUCK, BROTHERS & SISTERS, and LEVERAGE.
Chamberlain and director J. Lee Thompson
More than capable of holding his own in a Ken Russell film like THE MUSIC LOVERS or among the impressive cast of 1970's JULIUS CAESAR, Chamberlain was often dismissed by film snobs in his heyday as "a TV actor," but he's always been underrated, and his enthusiastic, affable interpretation of Allan Quatermain in KING SOLOMON'S MINES is quite enjoyable. Chamberlain hoped to take his SHOGUN and THORN BIRDS triumphs and jump-start his stagnant big-screen career and, even it was for one week, a Richard Chamberlain movie topped the box office as late as 1985. Chamberlain's days--all seven of them--as the nation's leading box office draw were brought to a swift end the next weekend when ROCKY IV opened, but KING SOLOMON'S MINES holds up nicely nearly 30 years later. Much of that is due to the directorial skills of veteran journeyman J. Lee Thompson (1914-2002), a guy who knew how to get in the can quickly and on budget, and though he was often slumming in his later years, he had experience with big, epic movies. Sure, he ended his career with the 1989 Charles Bronson sleazefest KINJITE: FORBIDDEN SUBJECTS, a film that opens with an enraged Bronson rescuing an underage hooker and jamming a dildo up a guy's ass, but Thompson also directed 1961's THE GUNS OF NAVARONE (earning him his lone Oscar nomination), 1962's TARAS BULBA, and 1963's KINGS OF THE SUN. While no one mistook Thompson for the second coming of David Lean, these big films were grand, majestic adventures with big budgets, big crews, and big spectacle (he also managed to fit the original CAPE FEAR into 1962). Though his Cannon contributions consisted mostly of working with his buddy Bronson in the '80s (10 TO MIDNIGHT, MURPHY'S LAW, DEATH WISH 4: THE CRACKDOWN, MESSENGER OF DEATH, and KINJITE), Thompson became an in-house Cannon guy, also directing the THE AMBASSADOR (1985), the studio's first adaptation of Elmore Leonard's 52 Pick-Up before John Frankenheimer's more faithful second version a year later, as well as the Chuck Norris actioner FIREWALKER (1986). Thompson was already over 70 when he was given KING SOLOMON'S MINES, and though he was obviously working with some budget limitations and the film doesn't look quite as good as an INDIANA JONES movie, it is one of Cannon's more handsomely-mounted and well-shot productions. The aging workhorse cranked out at least a movie per year for Cannon until he retired after KINJITE, which was also Bronson's last Golan-Globus production. Thompson died in 2002 at the age of 88.
The other key player in KING SOLOMON'S MINES is Sharon Stone, several years before 1992's BASIC INSTINCT made her a worldwide phenomenon. Stone's success didn't happen overnight, and she was already in her 30s by the time BASIC INSTINCT happened. KING SOLOMON'S MINES marked her first major starring role in a feature after years of supporting roles in films like Wes Craven's DEADLY BLESSING (1981) and the "Drew Barrymore divorces her parents" comedy-drama IRRECONCILABLE DIFFERENCES (1984) as well as TV work like the short-lived Michael Nouri sports series BAY CITY BLUES, cancelled by NBC after four episodes in 1983, and the Rock Hudson TV-movie THE VEGAS STRIP WAR (1984). Stone paid her dues for years before her breakout role in TOTAL RECALL (1990) got her the BASIC INSTINCT gig, even logging time as Steve Guttenberg's love interest in 1987's POLICE ACADEMY 4: CITIZENS ON PATROL and as Steven Seagal's wife in his 1988 debut ABOVE THE LAW. Stone is OK but doesn't do much more in KING SOLOMON'S MINES than play the damsel in distress and incredulously proclaim or frantically scream "Quatermain!" whether she's reacting to his antics or in need of rescue, and there's little indication of the fame (and, I suppose, infamy) that would come a few years later. In documentary filmmaker Mark Hartley's upcoming ELECTRIC BOOGALOO, a look at the history of The Cannon Group, Chamberlain reportedly shares a story about Stone's casting in KING SOLOMON'S MINES being accidental: Golan wanted "that Stone woman," and his casting associates signed Sharon Stone. According to Chamberlain, Golan meant Kathleen Turner, whose ROMANCING THE STONE had just been a big hit and, with its lighthearted tone, an influence on KING SOLOMON'S MINES.
The plot of KING SOLOMON'S MINES is updated to WWI as soldier of fortune Quatermain is hired by Jessie Huston (Stone) to locate her missing professor father (Bernard Archard). The professor has been kidnapped by evil German Col. Bockner (Herbert Lom) and nefarious Turkish slave trader Dogati (John Rhys Davies) and forced to interpret what's reputed to be a map to the legendary King Solomon's Mines, allegedly housing wealth and treasure beyond imagination. Accompanied by Quatermain's faithful native companion Umbopo (Ken Gampu), Quatermain and Jessie encounter all manner of adventure that retains some elements of Haggard's novel but takes its share of wild liberties, including an encounter with a giant spider. While Thompson succeeds in making a relatively inexpensive film look bigger than it is, Chamberlain's and Stone's stunt doubles are often distractingly obvious, but he keeps things moving at a frenetic pace in what's basically a series of chase scenes, all propelled along by Jerry Goldsmith's rousing score. The script by Gene Quintano (TREASURE OF THE FOUR CROWNS) and James R. Silke (NINJA III: THE DOMINATION) has some amusing elements, like Bockner using the dead bodies of his officers as a bridge to cross quicksand or yelling at a drowning officer to "Stop sinking! That's an order!" Lom and especially Rhys Davies are terrific as the villains, both chewing the scenery with comical gusto and seemingly having fun with the project, despite what was a sometimes arduous shoot on location in Zimbabwe. There's some pretty blatant racism in the script that comes across as rather cringe-inducing today, and it's not just the comic relief of the perpetually frightened Umbopo, who's too scared to ride in a car and stops just short of exclaiming "Feets don't fail me now!" Nor is it just the tribe of savage cannibals putting Quatermain and Jessie in a giant pot to boil. It's Jessie calling untrustworthy merchant Kassam (Shai K. Ophir) a "cheap-suited camel jockey" and a "towel-headed freak." It's an unfortunate misstep in an otherwise immensely likable and highly entertaining film.
ALLAN QUATERMAIN AND THE LOST CITY OF GOLD (US - 1987) Directed by Gary Nelson and Newt Arnold. Written by Gene Quintano. Cast: Richard Chamberlain, Sharon Stone, James Earl Jones, Henry Silva, Robert Donner, Doghmi Larbi, Aileen Marson, Cassandra Peterson, Martin Rabbett, Alex Heyns. (PG, 100 mins)
KING SOLOMON'S MINES was successful enough to warrant a sequel, though that sequel was planned all along. Shot concurrently with the first film in 1985 by a different director and crew, ALLAN QUATERMAIN AND THE LOST CITY OF GOLD almost gets by on the easygoing charm of Chamberlain but is a vastly inferior film. It looks cheaper, moves slower, and lacks the playful revisionist goofiness of KING SOLOMON'S MINES. It was a troubled production that could've used J. Lee Thompson at the helm. The director was Gary Nelson, another journeyman who made some good films but lacked the expertise of a seen-and-done-it-all pro like Thompson. Nelson directed the Disney films FREAKY FRIDAY (1976) and THE BLACK HOLE (1979), as well as the Gary Coleman comedy JIMMY THE KID (1982). He started directing NIGHTHAWKS (1981) before disagreements with star Sylvester Stallone resulted in Nelson getting fired and Bruce Malmuth stepping in, though many sources claim Stallone directed most of the film and Malmuth was merely present on the set and collecting a paycheck by being the guy yelling "Action!" to skirt around the DGA's "Eastwood Rule" that a fired director can't be replaced by the film's star, a rule created in 1976 when Philip Kaufman filed a grievance after Clint Eastwood fired him from THE OUTLAW JOSEY WALES and took over as director himself.
Inactive since 2000, the now-80-year-old Nelson was primarily known in the industry as a TV director, working on everything from HAVE GUN, WILL TRAVEL, THE ANDY GRIFFITH SHOW, GILLIGAN'S ISLAND and GOMER PYLE, USMC in the 1960s, KOJAK, MCMILLAN AND WIFE, and POLICE STORY in the 1970s, TV-movies like THE PRIDE OF JESSE HALLAM and NOBLE HOUSE in the 1980s to EARLY EDITION in the late 1990s. Nelson knew how to work on a tight schedule and his plethora of TV credits indicates that the networks saw him as a go-to guy for the small screen, but he seems in over his head on ALLAN QUATERMAIN. That may not speak to his abilities or lack thereof as the guy calling the shots--after all, FREAKY FRIDAY and THE BLACK HOLE were successful--but more likely, the corner-cutting circumstances under which Golan & Globus had him working. Though shot simultaneously, it's obvious that the producers considered KING SOLOMON'S MINES the more important of the two films, as ALLAN QUATERMAIN looks like a disgruntled younger sibling forced to make do with tattered hand-me-downs. KING SOLOMON'S MINES needed to be successful to justify a sequel...which they were already shooting at the same time. It's obvious that it didn't matter to Golan & Globus if ALLAN QUATERMAIN was a piece of shit. At least some attempt was made to make it presentable: after principal photography was finished, veteran second-unit director Newt Arnold (who would go on to direct BLOODSPORT) was given a crew for extensive reshoots in Los Angeles. It's never been said whether Nelson was fired or if he was just busy with another assignment or simply didn't want any further involvement in the film, but there is an "Additional scenes directed by Newt Arnold" credit. Some of these scenes stick out like a sore thumb: Chamberlain's beard and Stone's hairstyle change throughout, Chamberlain's hair has some clearly visible gray streaks in some scenes, and Henry Silva, who turns up an hour into the film as the villainous high priest Agon, has two noticeably different wigs that sometimes switch back and forth in various shots within the same scene. The theatrical trailer also has numerous shots--including Quatermain tangling with some Agon's warriors over a pit of melted gold--that don't appear in the released film.
This cheery publicity shot of the stars constitutes
the most convincing acting associated with ALLAN
QUATERMAIN AND THE LOST CITY OF GOLD
But even before the obvious Arnold-directed reshoots, confined mostly to the film's second half, ALLAN QUATERMAIN is sloppy and carelessly executed. The visual effects and process screens are laughably crummy, no effort is made to hide the wires attached to the actors--one character is lifted by another and the "lifting" actor barely has his hands on the person as black wires yank him out of the shot, and though Goldsmith is uncredited, the score is almost completely recycled from the first film. Chamberlain gives it his best shot as Quatermain puts off his wedding to Jessie as the two search for his missing brother Robeson (played by Chamberlain's longtime partner Martin Rabbett), who's involved with a cult led by the loony Agon. Silva makes up for his belated appearance by hamming it up mercilessly, as does Robert Donner (MORK & MINDY's Exidor), mugging shamelessly as the cowardly, comic relief mystic Swarma. One of ALLAN QUATERMAIN's biggest offenses is having James Earl Jones in the cast and giving him nothing to do with the role of warrior Umslopogaas, an old friend of Quatermain's who, with Donner's Swarma already fulfilling the comedy obligation, basically functions as a badass version of KING SOLOMON'S MINES' clownish Umbopo. A surprisingly lean Jones looks appropriately intimidating but he's far too vital a screen presence to be saddled with the noble savage sidekick role. In his memoir Voices and Silences, Jones completely dismissed the film as "a failure" and said he only did it because he'd never been to Zimbabwe and the production was paying for everything.
As far as the general public was concerned, once was enough for Chamberlain's pseudo-Indiana Jones act. ALLAN QUATERMAIN AND THE LOST CITY OF GOLD tanked badly, landing in seventh place with less than $2 million. It opened on January 30, 1987, the same day as the Bette Midler/Shelley Long comedy OUTRAGEOUS FORTUNE, which took the #2 spot as everything fell victim to Orion's wide release expansion of Oliver Stone's landmark, headline-making PLATOON, the talk of the industry at the end of 1986 and the beginning of 1987. QUATERMAIN took a serious beating, grossing less in its opening weekend than STAR TREK IV: THE VOYAGE HOME in its tenth week of release and even being beaten out by THE GOLDEN CHILD, Eddie Murphy's attempt at being Indiana Jones, in its eighth week out. In short, regardless of how much they may have enjoyed KING SOLOMON'S MINES 14 months earlier, moviegoers didn't give the slightest semblance of a shit about a second Allan Quatermain adventure, and it fell out of the top ten in its second weekend and was in second-run discount theaters in its third.
