Ripoffs of the Wasteland: THE NEW BARBARIANS (1983) and Trashtastic bonus film ESCAPE FROM THE BRONX (1983)

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.

Ripoffs of the Wasteland: 2020: TEXAS GLADIATORS (1983)

2020: TEXAS GLADIATORS
(Italy - 1983; US release 1984)

Directed by Kevin Mancuso (Aristide Massaccesi and Luigi Montefiori). Written by Alex Carver (Luigi Montefiori). Cast: Harrison Muller, Al Cliver, Daniel Stephen, Peter Hooten, Al Yamanouchi, Sabrina Siani, Donald O'Brien, Geretta Geretta. (Unrated, 86 mins)


The credits of the Italian post-nuke ROAD WARRIOR ripoff 2020: TEXAS GLADIATORS take great pains to make the movie look American. All of the technical credits are pseudonymous, starting with score composer Carlo Maria Cordio going by "Francis Taylor" and production manager Donatella Donati as "Helen Handris," all the way to the end with assistant director and future Italian horror auteur Michele Soavi (CEMETERY MAN) hiding incognito as "Mike Soft." But all of that effort is for naught early on with the repeated sightings of signs reading "DANGER: EXSPLOSIVE," the tell-tale, "Do Not Entry" sign from THE BEYOND that, despite the Herculean efforts of everyone involved, the ruse collapses thanks to the Italian prop guy. And if you watch enough of these, you'll start recognizing not only the same actors being dubbed by the same voices, but also the same Italian locations, as 2020's action mostly has the actors running around the same abandoned factory and the stunt drivers careening around the same gravel pit and dirt mounds that can be spotted in most entries in the subgenre.

Set in the ruins of Texas several years after "the Atomic Wars," 2020 focuses on the Rangers, a group of mercenaries led by Nisus (Al Cliver). The Rangers battle the jack-booted forces of The Black One (Donald O'Brien), a nefarious dictator-type who's trying to conquer the community so he can have access to a refurbished refinery that now produces clean drinking water. After an early Rangers expedition results in Nisus banishing Catch Dog (Daniel Stephen) after he tries to rape single mother Maida (Sabrina Siani, in one of her few appearances outside of an Italian CONAN ripoff), Catch Dog immediately switches sides and joins the Black One, using his knowledge of the Rangers to get back at his former cohorts. When Nisus (the character is listed as "Nisus" in the credits, but it sounds like the dubbing team is saying "Nexus," which sounds cooler) is killed in a raid by the Black One's goons and Maida is sold into prostitution, the rest of the Rangers--Halakron (Peter Hooten), Jab (Harrison Muller), and Red Wolfe (Al Yamanouchi)--rescue her and avenge Nisus by taking on The Black One and Catch Dog. Filled with the usual goofy-looking cars, mutant goons, wild stunt work, gun battles, "exsplosions," completely inconsistent beard continuity for Hooten and Muller, over-the-top violence, and a pretty impressive body count, 2020 is total guilty pleasure stupidity, right from the start with the Rangers killing about 50 bad guys before the opening credits are even finished. There's no shortage of bloodshed and the near-constant action keeps things moving briskly, but 2020: TEXAS GLADIATORS doesn't really try to take advantage of its setting. Other than a hand-painted "Texas" sign, and Halakron challenging Maida's cowboy pimp to some DEER HUNTER-inspired Russian Roulette in an old west saloon, no effort is made to create the illusion of "Texas," unlike the many post-nukes set in NYC, like 2019: AFTER THE FALL OF NEW YORK, where even a half-melted model of the Statue of Liberty went a little way toward creating some NYC atmosphere. 2020 does an OK job of being a post-nuke western of sorts--an idea more successfully explored in Giuliano Carnimeo's EXTERMINATORS OF THE YEAR 3000--but it mainly resorts to cliches and cringe-worthy stereotypes that would've been antiquated in the 1940s, like the late-film introduction of some constantly war-whooping "Indians" who stop just short of saying "How!" and "We smokum peace pipe" when they reach a tentative truce with Halakron and the Rangers and join their fight against The Black One.

Aristide Massaccesi (1936-1999),
 aka "Joe D'Amato," "David Hills,"
and at least 50 other pseudonyms

Released in the US in 1984 by short-lived grindhouse outfit Megastar Films and shown on TNT's MONSTERVISION with Joe Bob Briggs in 1999, 2020 was directed mostly by Aristide Massaccesi, who used countless pseudonyms over the course of his career, the most frequent and familiar being "Joe D'Amato." Massaccesi dabbled in everything, starting as a camera operator on Mario Bava's HERCULES IN THE HAUNTED WORLD (1961) before graduating to cinematographer by the late '60s and moving on to directing in the '70s, with everything from Laura Gemser's BLACK EMANUELLE films to the gore classics BEYOND THE DARKNESS, aka BURIED ALIVE (1979), and ANTROPOPHAGUS, aka THE GRIM REAPER (1981). As "David Hills," he directed several ATOR films during the post-CONAN craze, and under the name "Steven Benson," he would gather most of the cast and crew of 2020 for the same year's Italian post-nuke favorite ENDGAME. The workaholic Massaccesi also used the D'Amato name on several old-school Skinemax favorites like ELEVEN DAYS, ELEVEN NIGHTS (1986) and TOP MODEL (1988). By the early 1990s, Massaccesi was working exclusively in hardcore porn, where he would finish his career prior to his death in 1999. 2020: TEXAS GLADIATORS' direction is credited to "Kevin Mancuso," which is actually a shared pseudonym for Massaccesi and familiar Italian cult actor Luigi Montefiori, better known as "George Eastman."

Luigi Montefiori, aka "George Eastman"

Montefiori first gained notice as The Minotaur in 1969's FELLINI SATYRICON, and, as "Eastman," would later co-star in the Charlton Heston version of THE CALL OF THE WILD (1972) and with Kirk Douglas in SCALAWAG (1973), as well as one of the kidnappers in Mario Bava's RABID DOGS (1974), but that's about as classy as his resume got. As "George Eastman," he was a regular fixture in Eurotrash cinema, usually appearing in "Joe D'Amato" films. He starred as the cannibalistic killer in THE GRIM REAPER and in the D'Amato horror/porno crossovers EROTIC NIGHTS OF THE LIVING DEAD (1980) and PORNO HOLOCAUST (1981), the latter known more for its close-ups of porn actor Mark Shanon's genital warts than anything else. "Eastman" is perhaps best known by post-nuke fans for his performance as Big Ape in 2019: AFTER THE FALL OF NEW YORK (1983). In addition to acting under his "Eastman" moniker, Montefiori scripted numerous films, either under his own name (1976's KEOMA) or under a variety of pseudonyms (as "Lew Cooper," he co-wrote Michele Soavi's 1987 breakthrough STAGEFRIGHT). Montefiori scripted 2020 under the name "Alex Carver," and wanted to try his hand at directing some of it as well. It's been rumored that Massaccesi handled the action scenes, which would mean he directed most of the movie. Considering they remained friends and worked together several more times over the years, it's doubtful that this was a situation where Massaccesi stepped in and took over for Montefiori. More likely, Montefiori wanted to get his feet wet behind the camera and Massaccesi delegated some scenes to the neophyte director. Cult actress Geretta Geretta--aka Rosemary in Lamberto Bava's DEMONS--had a small role in 2020 and when asked who directed what, she responded "All I remember is that the director was tall and handsome," which would probably indicate that the few scenes she was in were handled by the the 6' 9" Montefiori. If Montefiori wanted to branch out into filmmaking, it didn't really pan out after partnering with Massaccesi on 2020: to date, he's only stepped behind the camera on one other occasion, the Norfolk, VA-shot horror film METAMORPHOSIS (1990)--memorable to back-in-the-day video store denizens for having one of those great, gimmicky Imperial Entertainment VHS boxes--where he's credited as "G.L. Eastman." Now 72, Montefiori hasn't acted since 2004 and has spent recent years writing for Italian TV.

Despite being fourth billed in the credits, Hooten is the real star of 2020: TEXAS GLADIATORS, at least after second-billed Lucio Fulci regular Cliver gets Janet Leigh'd out of the film by the 30-minute mark. A native of Florida, Hooten worked steadily on TV in the early '70s with guest appearances on shows like THE MOD SQUAD, MANNIX, and THE WALTONS. Over 1977 and 1978, with a co-starring role in ORCA and the title role in the CBS/Marvel pilot movie DR. STRANGE, it appeared as if he was about to break out, but DR. STRANGE wasn't picked up for series and Hooten quickly became a Next Big Thing instantly forgotten. By the end of 1978, he made his way to Europe where he would work almost exclusively starting with Enzo G. Castellari's THE INGLORIOUS BASTARDS. Already showing signs of disinterest in the projects he was being offered--his only Hollywood gig during this time came in a supporting role as one of Ken Wahl's commando unit in James Glickenhaus' 1982 actioner THE SOLDIER, and he didn't even stick around to dub himself for 2020, leaving it to voice actor Frank von Kuegelgen--Hooten only worked sporadically as the '80s went on. He eventually retired from acting in 1990 after starring in TROLL 2 director Claudio Fragasso's completely obscure NIGHT KILLER. It was shortly after shooting 2020 that the openly gay Hooten met Pulitzer Prize-winning poet James Merrill, and the two were together until Merrill's 1995 death from AIDS. Now 64, Hooten currently lives in Florida and came out of retirement in 2013 to appear in a pair of extremely low-budget Sarasota-shot regional horror movies, HOUSE OF BLOOD and SOULEATER.

2020: TEXAS GLADIATORS is a fun film, but between young Montefiori working with Fellini and Hooten almost becoming a Marvel superhero, it's also a film that those with once-promising careers settled for when they just needed the work. French-born Irish actor O'Brien was no exception. He got his start with supporting roles in big-budget films like John Frankenheimer's THE TRAIN (1964) and GRAND PRIX (1966) before finding his niche as villains and miscreants in a slew of Italian spaghetti westerns throughout the 1970s, going back to Sergio Sollima's RUN MAN RUN (1967), all the way up to era-enders such as Lucio Fulci's FOUR OF THE APOCALYPSE (1975), Enzo G. Castellari's KEOMA (1976), and Sergio Martino's MANNAJA (1977). He also played a Nazi general in THE INGLORIOUS BASTARDS and an exorcist in Massaccesi's sleazy nunsploitation classic IMAGES IN A CONVENT (1979). O'Brien is best known to Eurotrash audiences for Marino Girolami's ZOMBIE HOLOCAUST (1980), where his zombie-creating mad doctor was granted the title role when the film was rechristened DOCTOR BUTCHER M.D. for its 1982 American release. Vacationing in Paris in 1980, shortly after completing his work on ZOMBIE HOLOCAUST, O'Brien suffered a serious head injury when he slipped and fell in the bathroom of his hotel room. After spending several days in a coma, he awoke to find he was partially paralyzed. 2020: TEXAS GLADIATORS was his first film after the accident and its effects are obvious: he has a halting limp and is often dragging his left leg, and the right side of his face demonstrates frequent, involuntary twitching very similar to that of Japanese actor Takeshi Kitano/Beat Takeshi in the aftermath of his 1994 motorcycle accident. Still, the veteran actor, while dubbed, manages to create a vivid impression with his shaved head, hammy overacting (check out his overdone Dr. Evil cackle at a not-very-funny joke that Catch Dog makes), and memorable death scene. O'Brien continued to act in films, but his paralysis took its toll. He required a cane and as the years went on, in later films like HANDS OF STEEL (1986) and THE NAME OF THE ROSE (1986), he's usually seated or leaning against something. O'Brien would go on to appear in Massaccesi's final ATOR film QUEST FOR THE MIGHTY SWORD (1990) and Michele Soavi's THE SECT, aka THE DEVIL'S DAUGHTER (1991), before retiring from acting in 1994 after severely injuring his hip in another fall. He died in 2003 at the age of 73.

Ripoffs of the Wasteland: 2019: AFTER THE FALL OF NEW YORK (1983)

2019: AFTER THE FALL OF NEW YORK
(Italy/France - 1983; US release 1984)

Directed by Martin Dolman (Sergio Martino). Written by Julian Berry (Ernesto Gastaldi), Martin Dolman (Sergio Martino) and Gabriel Rossini. Cast: Michael Sopkiw, Valentine Monnier, George Eastman (Luigi Montefiori), Anna Kanakis, Roman Geer (Romano Puppo), Edmund Purdom, Vincent Scalondro, Louis Ecclesia, Serge Feuillard, Haruhiko Yamanouchi, Jacques Stany, Tiziana Fibi, Siriana Hernandez, James Sampson, Angelo Ragusa, Giovanni Cianfriglia. (R, 96 mins)

While THE ROAD WARRIOR provided the chief template for the early '80s Italian post-nuke cycle, the influence of John Carpenter's ESCAPE FROM NEW YORK weaved its way in from time to time. This was certainly the case with Sergio Martino's 2019: AFTER THE FALL OF NEW YORK, which may very well be the best that the Italian post-apocalypse subgenre had to offer, not counting Enzo G. Castellari's 1990: THE BRONX WARRIORS, which isn't really a post-nuke but is almost always cited as one. Released in Italy in the summer of 1983 and in the US by Almi in December 1984 minus the "2019" portion of the title, 2019 is a case study in making the most of budgetary limitations. Even a major cue in the "Oliver Onions" (Guido & Maurizio De Angelis) score is recycled from their soundtrack for Antonio Margheriti's YOR: THE HUNTER FROM THE FUTURE (1983). What Martino's film lacks in gonzo car stunts and the ability to recreate a convincing NYC (even Carpenter had to let a declining East St. Louis, IL stand in for the ruins of the Big Apple), it makes up in imagination, perseverance, and old-school special effects techniques. Sure, the matte paintings, the miniatures of a bombed-out, radioactive Manhattan, and what looks like a half-melted souvenir model of the Statue of Liberty that appear to be set up on a workbench in Martino's basement will probably evoke derisive snickering upon a first glance, but after the opening skyline shot, he makes their appearances sparse enough that they're eerily effective when you do get fleeing glimpses of them later on. Martino's got very little to work with from a visual effects standpoint and knows just how much of it to show to keep the film from collapsing in on itself.

In 1999, the evil Eurac Monarchy ("the powerful Euro-Afro-Asian unity") initiated a nuclear holocaust that left the world a radioactive wasteland. Most of America is a desert, with only torched shells of skyscrapers remaining in major cities. It's been 15 years since a human child was born, and the US government, now called the Pan-American Confederacy, based in northernmost Alaska, and run by a sickly President (Edmund Purdom), gets word that one fertile female remains in the ruins of NYC. He orders nomadic warrior and former Pan-Am soldier Parsifal (Michael Sopkiw) to venture in with the help of two mercenaries, eye-patched strongman Ratchet (Romano Puppo) and Bronx (Vincent Scalondro), find the woman, and in exchange, they get three seats on the next shuttle to Alpha Centauri, where the Pan-American Confederacy is looking to rebuild itself beyond the boundaries of Earth.

If Parsifal reminds you of Kurt Russell's Snake Plissken and the President's offer vaguely recalls one presented to Plissken by Lee Van Cleef's Hauk, then you picked up on the not-very-subtle borrowing of elements from ESCAPE FROM NEW YORK. Parsifal, Ratchet, and Bronx eventually encounter a group of survivors, where they pick up Giada (Valentine Monnier) and dwarf Shorty (Louis Ecclesia) while being pursued by coldly ambitious Eurac soldier Ania (Anna Kanakis). Bronx takes an early exit in the form of a bullet to the head but not before he gouges out the eyes of the nefarious Eurac commander (Serge Feuillard). Eventually, the motley crew cross paths with a band of mutants led by the hirsute Big Ape (George Eastman)--or, as he was known in ESCAPE FROM NEW YORK, "The Duke" (you can also conclude that Shorty is this film's "Cabbie")--who ends up tagging along just because he wants to be the one to plant his seed in the fertile woman, Melissa (Tiziana Fibi), when they find her.

The more "Michael Sopkiw is almost
Kurt Russell" poster design.

2019 is consistently engrossing but really takes off with a wild climax that has its ragtag group of heroes and a hibernating Melissa packed into a steel-reinforced station wagon and driving through mined, obstacle course tunnels under NYC, during which Big Ape hurls his sword and decapitates about ten Eurac soldiers at once in one of the finest moments in all of Italian post-nuke. Again, Martino doesn't have the luxury of shooting a big action sequence in NYC, so he circumvents that hassle by taking the ESCAPE FROM NEW YORK 69th Street Bridge sequence underground in the same tunnel sets used in virtually all of the Italian post-nukes. Martino does have a couple of scenes early on that were shot in Arizona, prior to Parsifal being taken to Alaska (which looks almost exactly like the futuristic Mount Olympus set in Luigi Cozzi's HERCULES), but virtually the entire film was shot at De Paolis Studios in Rome. Martino (using his occasional "Martin Dolman" pseudonym) co-wrote the script with veteran screenwriter Ernesto Gastaldi (credited as "Julian Berry") and Gabriel Rossini, and they spend a bit more time on characterization than you usually see in ripoffs of this sort. Much like the team of oddballs helping Plissken on his mission, the crew surrounding Parsifal exhibit much in the way of character and personality, even when their actions (why would they leave Giada and Melissa alone with Big Ape?) don't make much sense. The writers don't play favorites with who lives or who dies and there's a genuine unpredictability and ambition to the way the plot builds and unfolds. It's been brought up online before (by Video Junkie's William Wilson and EUROCRIME co-producer Michael Martinez to name two) but it's worth repeating again: there's some interesting coincidences between 2019 and if not P.D. James' 1992 novel Children of Men, then at least Alfonso Cuaron's loosely adapted 2006 film version.  Both are set in a dystopian, barren future where one fertile woman has been found (in James' novel, the men are infertile); both have a lone wolf hero being charged with finding her and getting her to where she needs to go to keep the human race from dying out; and both have upper-class characters (Feuillard's commander in 2019 and Danny Huston's Nigel in CHILDREN OF MEN) with Picasso's Guernica displayed on their wall. It's entirely possible that both Martino & Gastaldi and Cuaron came up with the notion of using Guernica, since it's regarded as a symbol of humanity's suffering in war. Just like it's entirely possible that Cuaron or one of CHILDREN OF MEN's four other screenwriters caught AFTER THE FALL OF NEW YORK on VHS or during one of its late-night cable airings in the '80s and it stuck with them enough to work it into another, much more higher-profile movie with a similar central conceit, albeit with different circumstances and metaphors.

Greatest credit ever?

2019: AFTER THE FALL OF NEW YORK marked the debut of Sopkiw, an American model whose acting career lasted three years and four films. Born in Connecticut in 1954, Sopkiw was a wandering sort in his youth, with stints in merchant sailing and the maritime shipping industry, during which time he served a year in prison for transporting marijuana. He briefly studied acting in NYC and fell into modeling in Europe, which got him the 2019 gig (he's still dubbed by someone else--this was one of the few Italian genre films of the era not handled by the usual crew of American and British dubbers working in Rome, but by SPEED RACER voice actor Peter Fernandez's crew in NYC). In 1984, Sopkiw made two films with director Lamberto Bava: the entertaining DELIVERANCE/FIRST BLOOD hybrid BLASTFIGHTER, which reteamed him with Eastman, and the future MST3K-favorite DEVIL FISH, which again paired him with Monnier. In 1985, he starred in Michele Massimo Tarantini's MASSACRE IN DINOSAUR VALLEY, a belated entry in the post-CANNIBAL HOLOCAUST gut-muncher craze, and that was it. Sopkiw went back into modeling in NYC before pursuing his interest in medicinal plant science, and went on to run the Los Angeles-based American importing office of the Dutch glass company Miron Violettglas. As 2019's cult grew over the years, so did the interest in the elusive Sopkiw, who emerged from obscurity to be more or less a bystander on a controversial, kamikaze commentary by a "post-nuke expert" on Shriek Show's 2003 DVD release of the film. The DVD was quickly withdrawn and re-released without the commentary, which found the moderator in question more or less using the opportunity to take cheap shots and settle scores with various figures and discussion forums in Eurocult's online community. The DVD's anamorphic transfer holds up well, but with the re-released version out of print for several years now, the film is long overdue for a Blu-ray upgrade. In recent years, Sopkiw has maintained a low profile but periodically appears at fan conventions, usually when there's a panel on '80s Italian cult movies.

The veteran journeyman Martino's only direct contribution to the Italian post-nuke movement (though you could argue that 1986's HANDS OF STEEL, with its arm-wrestling cyborg hero and John Saxon hoisting an over-the-shoulder laser bazooka, belongs under the umbrella as well), 2019: AFTER THE FALL OF NEW YORK featured several Eurocult mainstays in its cast, such as Eastman, Puppo (billed as "Roman Geer"), Purdom, Jacques Stany as a Eurac flunky, and Hal Yamanouchi in a small role as the leader of a band of radiated mutant goons who gets his head split open in a memorable shot. The other noteworthy cast member was 20-year-old Kanakis as the ambitious Ania. Kanakis made headlines five years earlier when she was named Miss Italy 1977 only to be disqualified from the eventual Miss World competition when the organization discovered that she was only 15 years old. She claimed that the Miss Italy people never told her that the minimum age requirement was 17 (1977's Miss Malta, also 15, was given the boot as well), but she soon ended up with an acting career, with 2019 her second post-nuke in quick succession, following Enzo G. Castellari's THE NEW BARBARIANS (1983), released in the US in early 1984 as WARRIORS OF THE WASTELAND. Kanakis, who was married to Goblin leader Claudio Simonetti from 1981-1984, remained sporadically busy over the next 20 years, primarily on Italian television. Her last acting appearance to date was a starring role in the 2007 Italian TV mini-series LA TERZA VERITA.

Ripoffs of the Wasteland: EXTERMINATORS OF THE YEAR 3000 (1983)

EXTERMINATORS OF THE YEAR 3000
(Italy/Spain - 1983; US release 1985)

Directed by Jules Harrison (Giuliano Carnimeo). Written by Elisa Briganti, Dardano Sacchetti and Jose Truchado Reyes. Cast: Robert Jannucci (Robert Iannucci), Alicia Moro, Alan Collins (Luciano Pigozzi), Eduardo Fajardo, Fred Harris (Fernando Bilbao), Beryl Cunningham, Luca Venantini, Venantino Venantini, Anna Orso, Sergio Mioni, Jose Chinchilla, Goffredo Unger. (R, 90 mins)

One of the more stunt-crazed entries in the Italian post-nuke onslaught that followed the success of THE ROAD WARRIOR in 1982, EXTERMINATORS OF THE YEAR 3000 kicks off what appears to be a post-apocalypse revival of sorts on Blu-ray, apparently to coincide with George Miller's upcoming reboot MAD MAX: FURY ROAD. Shout! Factory recently released EXTERMINATORS on Blu-ray (they're also handling the original MAD MAX, and Blue Underground will be releasing 1990: THE BRONX WARRIORS, ESCAPE FROM THE BRONX, and THE NEW BARBARIANS this summer) in an anamorphic widescreen transfer that's a significant upgrade to the decent-looking but cropped 1.33:1 edition released on DVD by Code Red in 2010. EXTERMINATORS is surprisingly good for its type, with director Giuliano Carnimeo--using the pseudonym "Jules Harrison"--indulging in some ridiculous stunts and car wrecks as well as keeping a distinct western motif to the proceedings--even shooting in and outside of Almeria, Spain, where most of the classic spaghettis were filmed--that echoes the numerous spaghetti westerns he made in the late '60s and early '70s under his usual "Anthony Ascott" nom de plume. Carnimeo dabbled in various genres, as Italian journeymen were wont to do, but he was best known for his several SARTANA westerns with titles like SARTANA THE GRAVEDIGGER (1968), and the 1970 ellipses trio of SARTANA'S COMING...GET YOUR COFFINS READY, HAVE A GOOD FUNERAL, MY FRIEND...SARTANA WILL PAY, and LIGHT THE FUSE...SARTANA IS COMING.

Presumably set in the year 3000, where cars from the late 1970s are still surprisingly functional after 1020 or so years, EXTERMINATORS centers on nomadic, lone-wolf road warrior Alien (Robert Iannucci, billed as "Robert Jannucci"), who reluctantly finds himself helping young Tommy (CITY OF THE LIVING DEAD's Luca Venantini). Tommy and his family are part of a ragtag community overseen by a Bible-thumper calling himself The Senator (Eduardo Fajardo), and he stowed away on a recon mission in search of both water and Tommy's father, who's been missing and presumed dead weeks after being sent on the same hunt for water. The recon mission, led by Tommy's father's best friend (Venantino Venantini), is promptly ambushed by a band of marauding lunatics led by Crazy Bull (Fernando Bilbao, billed as "Fred Harris") and Shadow (Beryl Cunningham) in a truly memorable sequence filled with amazing stunt driving and exploding cars and craniums. Tommy, who has a biomechanical right arm (this is never really explained--he just has it) teams up with Alien, who's already pissed off Crazy Bull by stealing his beloved car "The Exterminator," and they make their way to grizzled old astronaut-turned-mechanic Papillon (Luciano Pigozzi, under his usual "Alan Collins" pseudonym). Papillon tweaks Tommy's bionic arm to make it super-powerful, capable of throwing something to split someone's skull at 200 yards. Into this impromptu group of Humanity's Only Hope comes Trash (Alicia Moro), Alien's car-stealing ex, and the four team up to gather water from a nearby mutant stronghold while constantly fighting off attacks by Crazy Bull and his "Mothergrabbers," as he calls them. It's mostly typical Italian post-nuke silliness, but EXTERMINATORS OF THE YEAR 3000 has an undeniable energy to it with some of the best action sequences in the entire subgenre. Before the script--co-written by Italian horror stalwarts Elisa Briganti and Dardano Sacchetti--falls apart and stupidity takes over (Alien and Trash find the scarce, precious water and of course, start playfully splashing one another with it), there's actually some legitimate attempts at character development. Alien, Trash, Tommy, and Papillon form a classic spaghetti western "unholy alliance" that puts the film firmly into Carnimeo's wheelhouse.

Carnimeo got out of spaghetti westerns as the genre started slowing down in the early '70s. He dabbled in gialli (THE CASE OF THE BLOODY IRIS) and erotic dramas (the Edwige Fenech vehicle SECRETS OF A CALL GIRL) before directing several "Butch and Toby" buddy comedy actioners starring Paul Smith and "Michael Coby" (actually Italian actor Antonio Cantafora), who had a brief run in Italy as the second-string Bud Spencer and Terence Hill. 1975's CONVOY BUDDIES was released in the US in 1978 by Film Ventures, and Smith filed a lawsuit against the company when he and Cantafora were billed in the advertising as "Bob Spencer" and "Terrence Hall" in an effort to fool hopefully inattentive moviegoers into thinking it was the latest film from the popular TRINITY duo. Carnimeo made a few obscure sex comedies before directing EXTERMINATORS, but the now 82-year-old director has been inactive since 1988's RATMAN, which has attained minor cult status thanks to the presence of Nelson de la Rosa as a half-monkey/half-rat mutant running loose on a Caribbean island. De la Rosa would go on to play Marlon Brando's "Mini-Me"-inspiring sidekick in 1996's ill-fated THE ISLAND OF DR. MOREAU and those connections generated some belated interest in RATMAN years after it was made, and his involvement was enough to get it released on DVD in the UK with the tagline "He's the critter from the shitter." RATMAN sounds a lot more fun than it really is, and it seems to be the final chapter in Carnimeo's career.

EXTERMINATORS OF THE YEAR 3000 was a one-and-done venture into acting for Ohio-born Calvin Klein model Iannucci, unless you count a bit part in the 1982 comedy YOUNG DOCTORS IN LOVE. He looks the part, though he's dubbed by veteran voice artist Larry Dolgin. The towering Bilbao, also known to Eurotrash fans for his appearances as the Frankenstein monster in Jess Franco's 1972 double-shot of DRACULA, PRISONER OF FRANKENSTEIN and THE EROTIC RITES OF FRANKENSTEIN, makes an imposing villain with his very Wez-like look, though dubber Robert Sommer carries a lot of the weight, bellowing Ron Burgundy-isms like "By the beard of the prophet!" EXTERMINATORS was picked up by New Line Cinema and released in the US in January 1985, after which the Thorn/EMI VHS could be found in any video store in America.

Unfortunately, Shout! Factory's otherwise fine edition of EXTERMINATORS OF THE YEAR 3000 features the 2010 Code Red commentary track with Iannucci and temperamental Code Red head Bill Olsen. True to form as the worst commentary figure in the biz, Olsen torpedoes it almost immediately by grumbling "I'm only putting this out to prove that it doesn't sell" before indulging in his usual unfunny schtick of intentionally mispronouncing names ("Anna Onion!" he says when he sees the name "Anna Onori") or taking shots at things like Detto Mariano's score and Cunningham's "big ass," and spending almost the entire track complaining about how much he dislikes the movie and how "boring" it is (less than five minutes in, Olsen gripes "No offense, Bob, but this needs more action"). At first, Iannucci seems eager to talk about EXTERMINATORS and has a good memory for the details of the shoot, but his sincerity quickly succumbs to Olsen's cynicism and he joins him in the mockery and the bitching ("Any last words?" Olsen asks at the end, to which Iannucci replies "Thank God it's over"). If you've ever experienced a Bill Olsen commentary track or witnessed his behavior online and on social media, where he claims nothing he releases sells and he frequently berates his customers, it's hard to tell if it's some kind of Andy Kaufman performance art or if he's genuinely mentally unstable. Olsen has released some fine product through Code Red and for that he should be commended, but reputable companies like Shout! and Scorpion (the latter run by Olsen's more even-tempered and socially adept brother Walter) continuing to showcase his tiresome antics on commentary tracks, ruining potentially serious discussions and good-natured reminiscing with his inane questions, pathetic jokes, and shitty attitude, is a practice that needs to stop.

Cult Movie Trash: THE RAIDERS OF ATLANTIS (1983)

THE RAIDERS OF ATLANTIS
aka THE ATLANTIS INTERCEPTORS, ATLANTIS INFERNO
(Italy - 1983)  Directed by Roger Franklin (Ruggero Deodato).  Written by Vincent Mannino (Vincenzo Mannino) and Robert Gold (Tito Carpi).  Cast: Christopher Connelly, Marie Fields (Gioia Scola), George Hilton, Tony King, Ivan Rassimov, Mike Miller, Bruce Baron, John Blade (Giancarlo Prati), Mike Monty, Michele Soavi.  90 mins.  Unrated


Considering all the Eurotrash cult movies I discovered while combing the video stores in the 1980s all the way through to the present day, it still surprises me that I never got around to seeing Ruggero Deodato's delirious, insane 1983 action extravaganza THE RAIDERS OF ATLANTIS until now.  That Prism Entertainment VHS tape (this went straight to video in the US in 1986) was in every video store in the US back in the 1980s and 1990s, but for whatever reason, I never saw it.  When the Eurocult explosion hit DVD about a decade or so ago, RAIDERS was--and is--one of the few big ones that never turned up on the digital format in Region 1/North America (well, it is on a crappy public domain "Grindhouse Collection" set, but it's the VHS transfer).  Now that someone was kind enough to put a subpar VHS transfer up on YouTube, under the alternate title ATLANTIS INFERNO, though the title on the print is yet another alternate title, THE ATLANTIS INTERCEPTORS (and it was the cut 90-minute version that's missing the gorier bits), I was finally able to see what's long been called a classic of Italian B-movie trash.  And it didn't disappoint.

In a futuristic, 1994 Miami, mercenaries Mike (Christopher Connelly) and Washington (Tony King), team up with Professor Sanders (George Hilton) and his assistant Cathy (Gioia Scola, billed as "Marie Fields") when radiation from a Russian sub carrying nuclear warheads causes a domed Atlantis to rise to the surface of the coast of south Florida.  This also brings out The Interceptors, a renegade band of post-nuke-looking bad guys on motorcycles, led by the evil Crystal Skull (Bruce Baron).  The Interceptors pursue the heroes and eventually kidnap Cathy, and tons of gunplay, explosions, decapitations, explosions, awkward one-liners, explosions, and general incoherence ensue.  Also, explosions.

The script, by Vincenzo Mannino and Tito Carpi (like most of the crew, hiding under pseudonyms to make the film seem American; Deodato is credited as "Roger Franklin"), rips off tons of popular American films from the era.  The middle section of the film, where the heroes barricade themselves in a church while the Interceptors try to get in, is total classic John Carpenter, which means it's RIO BRAVO.  The Interceptors are clearly just leftover bikes, costumes, and props from any number of Italian postnukes.  Deodato, best known for the controversial CANNIBAL HOLOCAUST, does a very good job in staging some terrific ROAD WARRIOR-inspired action sequences that are often jaw-droppingly daring.  Connelly does most of his own stunts, whether he's scaling the outside of a two-story house, standing under a dangerously low chopper and hanging on to the landing skids, or, most impressively, climbing out of a window of a speeding bus and onto the roof during a chase scene.  These shots are staged to show that Connelly is doing much of his own stunt work.  Connelly, a busy TV actor in the '60s and '70s, found himself a very in-demand presence in Italian B-movies throughout most of the 1980s in such beloved cult classics as Enzo G. Castellari's 1990: THE BRONX WARRIORS and Bruno Mattei's STRIKE COMMANDO, but THE RAIDERS OF ATLANTIS might be his best role from this period of his career. He's having a blast, kicking ass, and he gets to be the hero, which didn't happen to him very often.  Unfortunately, this was the latter period of his career, as he died of cancer in 1988 at just 47 years of age.

And the dialogue in THE RAIDERS OF ATLANTIS is often pricelessly nonsensical, whether King is telling someone "Your damn thoughts don't go north of your neck anyway!" or Connelly talks about taking Scola out for a spinach dinner. Or, King's instantly immortal "Can't move!  We're immobilized!" This is a colossally stupid, bizarre film that seems made up as it goes along, but it's so fast-paced and action-packed that you don't even care.  And the score by "Oliver Onions," specifically the title song "Black Inferno," is just awesome.  Definitely one of the crown jewels of 1980s Italian trash cinema, and long overdue for DVD/Blu-ray representation in the US.