Weirdly, this craptastic film has a mini quiz you can play after the movie. Sort of like a comprehension test. The movie is horrible, but the multiple choice quiz almost makes it worth it.
Deserts and desperation. From Mad Max (1979) to Children of Men (2006) we sure do love speculating about what the world might look like after a nuclear holocaust. The post-apocalyptic sub-genre of the dystopian movie is something of a Hollywood staple nowadays (The Road, Book of Eli). There have been many a fine example of what a story can do with a clean slate. After the disaster you can make your own rules…unfortunately a lot of post-apocalyptic flicks don’t seem to realize that the possibilities of what a post-apocalyptic world can be are endless. You can go all out weird-bad bonkers like John Boorman’s misguided wtf Zardoz (1974) with Sean Connery, or you can go total glittery-cape-wearing zombie-war like in the Charlton Heston classic The Omega Man (1971). Most of the films mentioned in this paragraph are fairly well-known or popular (ok, Zardoz is a little out there), but I’d like to focus on a few post-apocalyptic movies you probably didn’t see. Both good and bad these films celebrate the endless possibilities of life after the bomb drops.
Come travel back in time with me as we explore the future.
When I hear a title like Hell Comes to Frogtown (1987) a little twinge of excitement tickles my spine. I watched this movie knowing it was going to be bad. It did not disappoint. Hell Comes to Frogtown stars wrestler “Rowdy” Roddy Piper (They Live) as Sam Hell, one of the last remaining fertile males in the not too distant future. Hell is captured and his netherbits are locked up by the provisional government so that he can go on a mission—wait for it, wait for it—to impregnate all the fertile females that are held hostage in Frogtown. So what is Frogtown? Frogtown is the steam-filled factory-like settlement inhabited by mutant frog people. Ribbit. If this movie sounds a little campy and chauvinistic, it’s only because it is. This movie can’t go ten minutes without women disrobing themselves. Frogtown has everything you’d expect from a campy eighties sci-fi action comedy. You got your butch, cigar-chomping, short-hair chick who’s always stroking a big gun (Cec Verrell). Then there’s the “nerdy” chick with the stick up her butt who lets her hair down and removes her gigantic owl glasses (and several articles of clothing) to reveal she’s secretly super hot (Sandahl Bergman). There’s your regular Joe protagonist (Piper) who just wants to get the blasted electrocution diaper off his junk. Finally there are some truly silly people in big frog puppet suits. The film is ugly and terrible…just the way I like it sometimes. If nothing else, it’s better than Super Mario Bros.
The eighties had some hits, but man, when you find its forgotten misses. Don’t hate this one because it’s Canadian. Hate it because it sucks. The mercifully short Rock & Rule (1983) is just as yucky as anything to come out of the eighties. In the distant future some mutant rodent people have formed a mediocre rock band. The band is made up of the obnoxious tool of a guitarist, the loveable but paunchy intellectual keyboardist, the goofy and uber-annoying drummer, and the kind and soulful hot girl. Everything is going nowhere for these guys until an evil all-powerful rocker named Mok needs to use the girl’s voice to unleash a demon out of hell for some reason. I found it interesting that all of the male characters look rather gross or strange but with the girl they really try to minimize her rodent features and sexualize her. Anthros will love it. The story is stupid, the characters are grating, the colors are oppressive and dim, and there’s really nothing to care about in this unpleasant fantasy adventure, but the animation is actually really, really good. I was genuinely impressed by the animation in this dumb movie. The same studio animated Eek! The Cat and The Adventures of Tintin cartoons. Most of the songs are pretty forgettable, but there’s a few decent ones. The songs are performed by (get this) Lou Reed, Iggy Pop, Cheap Trick, Debbie Harry, and Earth, Wind, & Fire, so there’s that. All in all something this bad and strange should not be forgotten…because that means I have to find it.
The bad is now behind us. Now we move into the realm of the good ol’ off-the-wall post-apocalyptic movies.
A Boy and His Dog (1975) is the touching tale of the undying bond between man and man’s best friend. Kind of. In the distant future (post-apocalyptic, of course) Vic (Don Johnson) and his telepathic dog Blood (voiced by Tim McIntire) search for food and females. The landscape is reminiscent of Hell Comes to Frogtown, but it was actually Mad Max who was inspired first. A Boy and His Dog was directed by L.Q. Jones (the old, blonde, mustachioed guy in The Mask of Zorro) and is appropriately taglined as “a rather kinky tale of survival.” The protagonist, Vic, is not only a bit of an immature, reckless jerk, but he’s also a bit of a rapist too. The dog is ten times smarter than Vic is, which really makes you consider a dog’s steadfast loyalty in a whole new light. When Vic meets Quilla June Holmes (Susanne Benton) he is convinced he must see the strange, enigmatic underground city. If everyone above ground is wild and dangerous and resources are scarce then maybe it’s time to go subterranean. The problem is that Blood is wounded and so he elects to wait for Vic to return up top. Once underground Vic discovers a whole populated world of people wearing clown makeup (and the world is run by Jason Robards!!!). He then learns that they need his seed to repopulate (Frogtown! Confound you!). Initially the idea appeals to the perpetually randy Vic, but when they take all the fun out of it and keep him prisoner that’s when things get serious. I would love to tell you more, but I can’t ruin it for you. It’s a pretty odd film that gets away with a lot of its shenanigans by not taking itself too seriously. Oh, and the ending is definitely one for the books.
Lastly, and my personal favorite on this list, is the surreal British comedy The Bed-Sitting Room (1969). The film takes place in a desolate British wasteland full of oddball characters trying to carry on with their daily lives. These characters are played by many familiar English personalities such as Michael Hordern (The Spy Who Came in From the Cold), Sir Ralph Richardson (Time Bandits), Dudley Moore (Arthur), Peter Cook (Bedazzled), Roy Kinnear (Willy Wonka and the Chocolate Factory), Rita Tushingham (Doctor Zhivago), Marty Feldman (Young Frankenstein), Harry Secombe (The Goon Show), and more! It was based on Spike Milligan’s play (he also stars in the film alongside everyone else) and it was directed by Richard Lester (A Hard Day’s Night, The Three Musketeers, Superman II). The film really operates more as a series of somewhat connected interludes and non-sequiturs, all as bafflingly surreal and morbidly funny as all get out. It almost feels like what would happen if Terry Gilliam and Alejandro Jodorowsky did a movie together. It has that absurd—almost Monty Python flavored—satire, but with the stark desperation and dreamlike transmogrifications that imply an even more cynically surreal hand at work. It’s a marvelous commentary on society and if you can get into people turning into furniture then this just might be the film for you. I absolutely loved its darkly warped wit. This is Richard Lester untethered and the cast is superb. And even weirder than Lester’s How I Won the War.
Post-apocalyptic movies have remained popular through the years and it’s no wonder. You can get really imaginative with them. I picked these films not only because they are exceptionally unusual and maybe less well known, but also because they employ a unique and welcome twist to the genre: a sense of humor. Hell Comes to Frogtown and Rock and Rule may be rather heinous, but they only mean to have fun and provide a strange escape. A Boy and His Dog and The Bed-Sitting Room are inventive and edgy, but it is their humorous spirit that defines them and makes them special. Humor affords them special privileges. Humor can say and do things drama cannot, and vice versa, but with so many dour and serious post-apocalyptic films out there, why not take a chance on one of these weird babies? If you like post-apocalyptic movies you might enjoy checking out these peculiar specimens…but you already know which ones I’d recommend first.
Originally published for “The Alternative Chronicle” June 13, 2011
Somewhere there’s in immense list of all the movies you should see before you die. They are powerful, iconic, historic, influential, quotable. We call these movies “The Essentials.” Most of them you’ve seen or at least heard of; anything from Star Wars to One Flew Over the Cuckoo’s Nest. How many people know The Pink Panther (1963) with Peter Sellers? Now, how many people know Topkapi (1964) with Peter Ustinov? In an effort to preserve all of the iconic, unmitigated masterpieces from film history (which is a very good thing), we can sometimes forget the smaller, old films that might not exactly be considered “essential” viewing.
Personal feelings: I think Topkapi is a far superior heist comedy to The Pink Panther.
I use the term “inconsequentials” as a sort of joke, but I think it’s a shame more people are not clamoring for copies of West of Zanzibar (1928), Shanghai Express (1932), and White Zombie (1932). These are three movies that I personally love and I will tell you what makes them special and why nobody cares today. Join me as we travel from the deepest African jungle to dangerous Chinese railways and then into Haitian voodoo country on our tour of some of the “inconsequentials.”
Lon Chaney, Sr. is a gateway drug into the world of silent cinema. Chaney, Chaplin, Fairbanks, Sr., the whole lot. They pull you in. West of Zanzibar is one of those strange silent jungle melodramas, and if you have ever heard of this one it was because you are a die-hard Lon Chaney fan. It also has the added cult appeal of being directed by the great Tod Browning (Dracula, Freaks, The Unholy Three). Chaney is most famous for his roles in The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). His uncanny ability to utilize makeup and physically painful-looking bodily distortions are what made him a legend of the silver screen. This film is a little different. Chaney wears no disguises. No clown makeup, no monster deformity, no Fu Manchu getup, no drag. Nothing. Chaney plays a stage magician of great prominence named Phroso. He is betrayed when his wife, Anna, cheats on him with his arch rival, Mr. Crane (played by Lionel Barrymore of Key Largo and It’s a Wonderful Life). When Crane announces that he is taking Anna away with him to Africa, Phroso attempts to stop him, but is thrown off the balcony and becomes paralyzed from the waist down. Later Phroso, now a paraplegic, discovers that Anna has died and so he vows revenge. Phroso moves to Africa to get Crane. Eighteen years have passed and Phroso is now the grimy “Dead Legs,” a strange witch doctor type guy to a primitive jungle tribe. He uses his magic tricks to frighten the natives of a nearby tribe…who happen to be under the watch of who else but Crane. “Dead Legs” kidnaps Crane’s daughter and tortures her to make Crane feel the pain he felt. *SPOILER ALERT* Well into the plot, “Dead Legs” learns that the girl he captured is actually his own daughter and that Crane has been taking care of her all these years, but it is too late to fix the damage he has done. He has killed Crane and his real daughter sees him as an evil murderer. To reveal his true identity at this point would destroy the girl, so he sacrifices himself to the natives to buy her time to escape into the night with her main squeeze.
The movie is dark, demented, and perfect for fans of Lon Chaney. He’s great at playing these deranged patriarchs, vengeful creeps, sympathetic deformed characters, and the subject of impossible tragedy and in West of Zanzibar he gets to play them all at once. The story is very pulpy and silly, but it’s a lot of fun and it has a wonderful exotic feel. The reason West of Zanzibar gets overlooked is because of the more popular films like The Phantom of the Opera and Dracula. The average person gets a sense of who Chaney and Browning are and moves on, never discovering their smaller films. Like I said, you’d have to be a real Lon Chaney geek or silent film nerd to seek this one out, but for my money it is well worth it even if you’re not.
Shanghai Express is an exorbitantly pulpy flick about women of sin, how much faith it takes to love someone, and a train on an exotic track with a rendezvous with the Chinese civil war. Marlene Dietrich (Witness for the Prosecution, Destry Rides Again) stars as Shanghai Lily, the most famous and successful prostitute in the orient (don’t worry, she’s not in yellow-face). When she boards the Shanghai Express with her friend and fellow woman-of-ill-repute, Hui Fei (played by the always fascinating Anna May Wong), everyone is perturbed by their presence. Several colorful and leisured characters are on board the train including a very outspoken missionary, an officer, a fickle woman, an opium dealer, an exceedingly gregarious gambler (Eugene Pallette, who always seems to be playing priests, The Adventures of Robin Hood and The Mark of Zorro), the shady half-Chinese Henry Chang (Charlie Chan himself, Warner Oland), and Lily’s old flame, the stoic British Captain Harvey (Clive Brook). Lily still has feelings for Captain Harvey, but Harvey is displeased with the life she now leads (although we sense he still fancies her greatly despite their 5 year separation). Can these two lost souls rekindle their dwindling romance? Moreover, will everyone get out alive after the train is stopped and they are taken hostage by Henry Chang who turns out to be a powerful warlord and rebel in the civil war? What makes this film work is the fun cast of characters, the steamy locations, the feelings of entrapment, the themes of faith and love…and revenge. I was only nominally with this film until the train got stopped. Then I was fully invested. The stakes are raised and the plot thickens. Murder, torture, sex, betrayal, the works. It’s amazing how much they got away with in those pre-code days.
Shanghai Express is pulpy fun. Most of the characters are fairly broad or rigid. I honestly don’t know how Captain Harvey and Shanghai Lily ever got together to begin with. The film also throws in random spiritual elements that don’t exactly seem to mesh, but it’s a good trip on a mysterious train that collides with danger and intrigue. Shanghai Express is filmed well and Eugene Pallette really livens things up and Anna May Wong delivers another dark and subtle performance that steals every scene she’s in. I love this movie for its simple but interesting story and rich atmosphere. The reason why this movie gets overlooked? Because Casablanca was a better movie. Plain and simple. Brooks can’t compete with Bogart, but Shanghai Express is still a great little movie on its own and should be celebrated more these days.
The last two films I talked about had a few things in common. They were pulpy, exotic, and atmospheric “inconsequentials” and my last pick is no exception. White Zombie might be a little more well-known for two very important reasons: a.) it stars Bela Lugosi (Dracula) and b.) it’s the first zombie movie. Many people regard George A. Romero’s Night of the Living Dead (1968) as the first zombie movie, but White Zombie has it beat by a good 36 years. Romero’s film changed the rules for zombie flicks and added social commentary, but White Zombie is all just for fun. Bela Lugosi plays Murder Legendre, an insidious voodoo master and owner of a Haitian sugar plantation. As you might have guessed, his Haitian slaves working the spooky sugar cane mill are actually zombies! Here’s the plot in a nutshell: Charles (a plantation owner) loves Madeleine, but Madeleine is in love with and getting married to Neil, so Charles goes to Murder for help. Simple. But!…the only way for Murder to make Madeleine love Charles is to make her into a zombie. So that’s exactly what they do, but Neil discovers his dead fiancee’s tomb to be empty and recruits the knowledgeable missionary, Bruner, and meanwhile Charles is regretting his decision for a zombie romance and Murder is actually slowly turning Charles into a zombie too! It all builds up to an exciting climax in Murder’s cliff-side castle. Zombies attack and spells are broken and there’s voodoo and people die and stuff and bad guy’s name is Murder! It’s fun.
Despite the relative cheapness of the production, White Zombie boasts some fantastic atmosphere and one of Bela Lugosi’s best performances. The scenes in the zombie sugar mill are spooky and deliciously atmospheric. The castle is great and the shots of the zombies assembling in the hillside cemetery are fun and a lurking Lugosi practicing voodoo in the shadows is just great. It’s a slight movie (some might call it “inconsequential”), but I really love it. The reason you don’t see this one on a lot of lists is because of legendary movies like Dracula, Frankenstein, The Wolfman, and others that overshadow it. White Zombie has a fairly insignificant villain as far as supernatural antagonists go and it doesn’t seem to have been made with as much care…or money. All that being said, it’s a great bit of cheap horror and much better than The Creature From the Black Lagoon. It also makes for a delightfully inconsequential double-feature with The Vampire Bat (1933) starring Fay Wray (Doctor X, King Kong), Lionel Atwill (Doctor X, Captain Blood), Melvyn Douglas (The Tenant, Being There), and the always wide-eyed Dwight Frye (Frankenstein, Dracula, Bride of Frankenstein). (Incidentally the guy who directed the extremely “inconsequential” Doctor X just so happens to be Michael Curtiz, the guy who directed Casablanca. It all comes full circle).
One more film I must mention as I recently revisited it after several years and I am pleased to say it still holds up is Bluebeard (1944). Fans of John Carradine are probably quite familiar with it. Carradine plays Bluebeard, a puppeteer/painter/serial-strangler in 19th century Paris. It’s a delightfully low-budget yarn of the macabre.
As a lover of old movies it takes more than just the undeniable classics to appease me. Sometimes I like the smaller films just as much as the great ones. Don’t let the greats cast too long a shadow that they blot out the smaller film achievements. Use them as a reference point to find more movies from those eras. West of Zanzibar, Shanghai Express, and White Zombie may not be on anybody’s “essentials” list, but I’d say make room for these “inconsequentials.” You might be surprised by what you find.
Originally published for “The Alternative Chronicle” Feb. 9, 2011.
I love Star Wars (circa. 1977-1983). For all the grief we give George Lucas for the “Special Edition,” the prequels, TV spinoffs, etc, one cannot downplay how much influence the Star Wars films have had on culture and the art of filmmaking. Not only has Star Wars influenced subsequent science fiction flicks, it has also been copied quite a bit.
There are a few different approaches one can take when it comes to science fiction.
- You can be enigmatic, arty, and classy like 2001: A Space Odyssey (1968).
- You can be extremely scientific, poetic, and subtle like Gattaca (1997).
- You can be lugubrious, philosophical, and metaphysical like Solaris (1972).
- You can be dark, suspenseful, and horrific like Alien (1979).
- You can be kooky, kinky comedy like Sleeper (1973).
- You can be fast-paced character-driven razzle-dazzle like Star Wars.
- Or (recognizing some of the childishness of space aliens, robots, and super-deluxe-hyper-warp-lightspeed) you can go all-out campy, flashy, trashy like Barbarella (1968).
- There is, however, another sub-genre of science fiction. I am referring, of course, to the blatant knock-offs.
After the release of the first Star Wars movie in 1977 there was a huge sci-fi craze. It seemed almost any movie could be made a better or more profitable movie with the institution of a well-placed spaceship. Movies like The Black Hole (1979), Battle Beyond the Stars (1980), The Last Starfighter (1984), Ice Pirates (1984), and Arena (1988) were cranked out by the bushel. Well, some of my personal favorite worst and also lesser known sci-fi movies made in the wake of the space craze are on my mind today so, naturally, I felt compelled to write about them.
First up is Saturn 3 (1980).
This film is actually a bit more of an Alien rip off. There are essentially only three characters and they are played by (check this out!) Kirk Douglas, Farrah Fawcett, and Harvey Keitel. Before I go any further I must tell you that this film is bad. Really bad. Almost not even so-bad-it’s-kinda-fun-bad. And another thing; I can’t help but feel like the title is even a little oddly derivative of Capricorn 1 (1977).
Kirk Douglas (Lust for Life) is Adam, an older guy who’s been stuck up on a surprisingly spacious and roomy space-base floating around Saturn. We also see him naked and, I gotta be honest, 20 years since Spartacus and the man is still in shape. Farrah Fawcett (Logan’s Run) is Alex, Adam’s blonde, leggy bed-buddy and his only companion. Together Adam and
Eve Alex (I get it!) live quietly in space for no apparent reason (it’s something to do with the government or science or something), until the most evil and warped mind in the galaxy comes aboard. This evil and warped mind belongs to a man named Benson.
Seriously. Benson. Benson is the name of the bad guy. Well, actually he only kills a guy named Benson for some inexplicable reason and assumes his identity, but really now. Benson? Benson is a dim-witted manservant, not a malevolent space villain. Anyway, Benson is played by Harvey Keitel (Mean Streets), but it gets better. Evidently the director was not altogether pleased by Mr. Keitel’s thick Brooklyn accent and so he Keitel awkwardly dubbed by some other robot-sounding British guy (it reminded me of Andie McDowell’s awkward dubbing in Greystoke: The Legend of Tarzan, Lord of the Apes).
Benson is revealed to be mentally imbalanced in the beginning of the film (because suspenselessness) and then, once aboard Saturn 3, he puts a giant suppository filled with brains into an 8-ft tall robot named Hector. He gives the robot his own thoughts and then tries to get in Alex’s pants with the most awkward space-future come-on lines since Demolition Man. Adam gets jealous and they talk about killing Benson because he is weird. Then the robot chops their pet dog in half and tries to rape Alex. The movie is a wreck and actually pretty boring despite the presence of a horny, rampaging robot. Saturn 3 also feels simultaneously unnecessarily dark and unintentionally silly. For instance, there is a scene where Hector, the robot, wears Harvey Keitel’s severed head as a hat as a disguise. A very, very bad disguise.
Next up it’s Starcrash (1978), also known as The Adventures of Stella Star. I actually love this movie. It’s near-nonstop mayhem in the same campy vein as Barbarella. But much, much cheaper.
The incredibly hot Caroline Munro (The Golden Voyage of Sinbad) stars as the frequently scantily clad Stella Star—the only hope for the galaxy. This film is more blatant a rip off of Star Wars and it is oh-so-hokey.
Outer space looks like an awkward jumble of bad Christmas decorations hastily assembled by a one-eyed crazy person. Who knew the stars and galaxies were so vibrant and psychedelic? The special effects for the spaceships are actually pretty decent, but again, the colors are more akin to a pinball machine that has lost its mind. The malevolent Count Zarth Arn (Joe Spinell) is the bad guy and his hairdo does for evil exactly whatever the name Benson did for evil. He also has his own version of the Death Star, except his is in the shape of a big, evil robot hand that clutches into a fist when it goes into attack mode.
There is also an extremely sexually ambiguous sidekick for Stella. His name is Akton (Marjoe Gortner) and he apparently has a new and incredibly convenient super power in each instance of peril. He bravely dies sword-fighting a stop-motion robot when his arm gets grazed and briefly caught on fire. The film also has a bald green dude, and a good robot with a Texas accent (half the film I just wanted to give him a ten-gallon hat to go with his Dr. Phil-esque homespun aphorisms). Starcrash also boasts lightsabers and David Hasselhoff (Knight Rider). The costumes are great and I couldn’t help but notice the recurring use of arrows on helmets seemingly pointing to the face of the wearer, and on belt buckles pointing to the crotch.
The movie is crazy and the plot is on crack. We go from an outer space battle to a strange planet to a space jail to the jungle and back into space and then on to another planet with cavemen or amazons and giant robots in like 4 minutes. It’s like the first 60 seconds of the Power Rangers pilot. The film does slow down occasionally. . . for overly long spaceship docking scenes. What you eventually learn is that the film is strategically conditioning you to not care about the characters so you won’t be mad when new characters are randomly introduced and old ones go away or return without rhyme or reason.
The best part of this movie? It’s a tie between Caroline Munro’s outfits (she dresses like Vampirella) and the great Christopher Plummer’s (The Sound of Music) emotionally detached and disenfranchised line deliveries. You can actually see it in his regretful eyes how much he hates that he’s in this movie. All around the movie is awesomely bad and I highly recommend this frenetically-paced, sexist light show. It’s a great bit of 70′s Italian schlock.
Last and most certainly least is The Man Who Saves the World, or as it is known in its home country, Dünyayı Kurtaran Adam, or as it is most commonly referred to, Turkish Star Wars (1982).
Every time somebody mentions the infamous Star Wars Holiday Special (1978) I fire back with Turkish Star Wars. The Star Wars Holiday Special is so bad it makes you wonder how there was a successful franchise afterward. Turkish Star Wars is so bad it makes you wonder why God has not destroyed humanity yet. Seriously, have the people who made this ever seen a movie before? It is film heresy. The whole spectacle is a noisy, raucous, incoherent Frankenstein mess of a film. It is a mind-boggling artistic travesty on all fronts. AND I LOVE IT!!!
A guy and his best pal (Murat and Ali) crash land on an alien desert planet and they meet an impoverished, rock-dwelling civilization that is tormented by a big, nasty, beardy space bad guy, who allegedly is a centuries old wizard who needs a human brain so he can understand stuff and conquer the universe. The two guys decide to help the people and proceed to fight the worst excuses for robots and aliens you will ever see. Toilet-paper mummies, dusty zombies, rubber robots, dudes in skeleton outfits, and great big orange stuffed animals, and even racist-looking (African, Asian, and possibly Jewish or maybe Armenian—it’s Turkey, after all) rubber mask baddies, are only the half of it.
The love story between Murat and woman-who’s-name-escapes-me is also great. You see, occasionally jarringly softer music will play and we get reverse closeups of their eyes as they longingly/indifferently gaze at each other while performing mundane space activities. This unprecedented and clashing change of pace denotes romantic interest. Understand?
I’d be kidding if I said I could explain the rest of the plot of this weird movie. There are mentions of the virtues of humanity and the human brain as the key to all things (something the filmmakers ironically refused to use for the production of Turkish Star Wars), and vague references to Islam and other things, but the story is so convoluted and poorly executed that it hardly matters. One minute our protagonists are fighting monsters, the next minute they’re in space jail, then the bad guy has monsters slaughter a cave full of frightened orphan children and he proceeds to drink their blood through a crazy straw, then Murat is wielding a giant, golden Final Fantasy sword [made of cardboard] and melting it in a huge vat and then thrusting his bare fists into the molten gold only to have them emerge with clunky gold space mittens on. Seriously. Tone! You can’t murder children in a film like this. It’s like the naked suicide in Endhiran.
One particularly memorable sequence is the training montage where Murat ties boulders to his ankles and goes jogging and then works his fist muscles by slapping big rocks. Instead of the Force, Murat has the amazing power to jump kinda high and karate chop things in half (boulders, stuffed animal monsters, robot heads, *SPOILER ALERT* the bad guy…except that they just black out half the screen and show him on the ground with his eyes closed, and in doing the same for the other half—to truly indicate the pure in-halfedness of our antagonist—the filmmakers also accidentally reveal that both halves apparently have full noses, but I digress). The finale is a jarring, headache-inducing mélange of so much incoherent violence, jumping, and explosions that you will be fighting—and fighting hard—your body’s urge to roll your eyes back in your head and halt all blood-flow to the brain. It’s like Vogon poetry really. Your welcome, Douglas Adams fans.
The absolute best part of Turkish Star Wars is how it is edited. I know that sounds nerdy, but let me explain. Not only does nothing make sense, but the film is notorious for ripping actual stolen footage from the real Star Wars—and several other fantasy movies and even a few newsreels—and splicing them into the movie. And the transfers are just terrible, but I suppose that’s nitpicking. Best of all, they do it at inappropriate times. For example, to show space travel they film a character with a stupid hat moving a wheel while scenes from the assault on the Death Star play behind him (except the real Star Wars footage keeps cutting to other shots so the backgrounds don’t make any sense). The music is also stolen from Raiders of the Lost Ark and a bunch of other popular movies as well.
If this movie weren’t so wonderfully, miserably bad and hysterically inept it would have been facing an arsenal of lawsuits. People say I’m crazy, but I have actually watched this wretched film at least 5 times. It takes a certain constitution to enjoy bad movies like this. Turkish Star Wars is really more of an endurance test than a film. Are you ready for the challenge?
There you have it. Saturn 3 you might as well skip as it is the most boring and unimaginative of them all, but it does have a stupid enough plot to keep you with it and the Keitel dub is wondawful. Starcrash is awesome trash and you definitely should see it for Munro’s body and Plummer’s face. Turkish Star Wars you can watch, but this one comes with a warning: it is disorientingly bad and you may not be able to readily relate to people immediately after a viewing, but for Troll 2 and Birdemic fans I must insist you try. At least it’s not After Last Season.
Originally published for “The Alternative Chronicle” Jan. 25, 2011.