Today, I present to you one of the most important films in horror history. Though it wasn’t appreciated when it was first released back in 1964, The Last Man On Earth was not only the 1st Italian horror film but George Romero has also acknowledged it as an influence on his own Night of the Living Dead.
It’s easy to be a little bit dismissive of The Last Man On Earth. After all, the low-budget is obvious in every scene, the dubbing is off even by the standards of Italian horror, and just the name “Vincent Price” in the credits leads one to suspect that this will be another campy, B-movie. Perhaps that’s why I’m always surprised to rediscover that, taking all things into consideration, this is actually a pretty effective film. Price does have a few over-the-top moments but, for the most part, he gives one of his better performances here and the black-and-white images have an isolated, desolate starkness to them that go a long way towards making this film’s apocalypse a convincing one. The mass cremation scene always leaves me feeling rather uneasy.
The film is based on Richard Matheson’s I Am Legend and no, it’s nowhere as good as the book. However, it’s still a worthy adaptation and one that stays true to the tone of the text, including the fact that Price’s main tormenter was also once his neighbor and best friend. This is one of those films that just hits differently in the wake of 2020’s COVID hysteria.
And now, it’s time for The Last Man On The Earth….
“Alone. Yes, that’s the key word, the most awful word in the English tongue. Murder doesn’t hold a candle to it and hell is only a poor synonym.” ― Stephen King
L.A. Guns is a band that has had a long and storied history, from their initial formation in 1983 to the brief moment when they joined with Axl Rose and became known as Guns N’ Roses to Tracii Guns leaving Guns N’ Roses after conflict with Rose and then forming a second version of L.A. Guns. At the same time that Guns N’ Roses were releasing their first music videos and making their mark on MTV, L.A. Guns released their video for One More Reason, one of the most apocalyptic looks at Los Angeles ever put on film.
Director Ralph Ziman also worked with Ozzy Osbourne, Toni Braxton, and Faith No More.
Produced by Gene Roddenberry and directed by Clive Donner, 1977’s Spectre was a pilot film for a television series about an occult detective (Robert Culp) who solved supernatural mysteries while dealing with a curse that had been put on him by the demon, Asmodeus.
In this film, Culp’s William Sebastian and his associate, Dr. Ham Hamilton (Gig Young) travel to the UK to investigate a supernatural case involving an old family. Despite the efforts of a succubus and a cursed airplane, Sebastian and Ham are determined to solve the mystery. John Hurt appears as a member of the cursed family.
This pilot was not picked up and developed into a series but it was popular enough that it was released as a theatrical film in Europe.
THE BRIDE WITH WHITE HAIR (1993), a Hong Kong fantasy film directed by Ronny Yu (THE BRIDE OF CHUCKY, Jet Li’s FEARLESS), follows Zhuo Yihang (Leslie Cheung), a master swordsman and reluctant young leader of the Wudang Sect, who is tasked with protecting his clan’s interests during a time of political turmoil and clan rivalries. The Ming Dynasty is weakening, and various factions vie for power, including an evil cult led by sinister conjoined twins, Gei Mou-Seung (Francis Ng and Elaine Lui). During a mission, Zhuo encounters Ni-Chang (Brigitte Lin), a fierce female warrior raised by the cult but disillusioned with their cruelty. Despite their opposing allegiances, Zhuo and Ni-Chang fall in love, drawn together by their unique senses of honor and a shared desire for freedom. Their romance faces intense opposition from both the Wudang Sect and the cult. A series of misunderstandings, betrayals, and tragic events, culminating in Zhuo’s hesitation to fully trust Ni-Chang, leads to her heart breaking. Will she be able to forgive Zhuo for breaking his promise to “always trust her” or will the pain of a broken heart transform her into the “Bride with White Hair,” where everyone else on Earth needs to watch TF out?!!
With its blend of fantasy action, romance and tragedy, THE BRIDE WITH WHITE HAIR is a visually spectacular and emotionally powerful masterpiece of Hong Kong cinema. In collaboration with cinematographer Peter Pau (Oscar winner for CROUCHING TIGER, HIDDEN DRAGON), director Ronny Yu creates a dreamlike atmosphere with surreal imagery that helps elevate the film into the unique awesomeness of early 90’s Hong Kong. The inventive choreography of the somewhat gory fight scenes, combined with flowing costumes and foggy landscapes, creates an exciting world for this film. This is bold visual and emotional storytelling, and I loved it. Brigitte Lin is amazing as Ni-Chang, balancing powerful strength with a surprising amount of vulnerability, which makes her ultimate transformation into the white-haired Bride both devastating and badass, cementing her as one of Hong Kong cinema’s most memorable heroines. Leslie Cheung is good as Zhuo Yihang, portraying a man who longs to be free, especially after he falls in love with Ni-Chang, but circumstances have a way of keeping him bound to his clan. The chemistry between Lin and Cheung drives this film, which makes the ultimate outcome of their romance very moving. Francis Ng and Elaine Lui are appropriately insane as the deadly and dangerous conjoined twins and cult leaders. The fact that Francis’ character is evil and in love with Ni-Chang himself ensures that our lovers are not going to get an easy path for flying off into the sunset together.
Ultimately, I consider THE BRIDE WITH WHITE HAIR to be a must-watch for fans of action-based fantasy films, or anyone drawn to stories of forbidden love and personal sacrifice. It’s one of the first “non-Chow Yun-Fat” Hong Kong movies I ever watched. The moving romance at the film’s center and the excellent performances from Lin and Cheung make it a standout of Hong Kong cinema.
When he was a young boy, Gregory Tudor was traumatized when he witnessed the gangland-style execution of the neighborhood ice cream man. He was retraumatized when he was sent to an insane asylum. Now, Gregory (Clint Howard) has grown up and he’s the ice cream man! Everyone in the neighborhood loves his ice cream but the local kids suspect that he’s using human body parts to get the flavor just right. It turns out that the kids know what they’re talking about.
Ice Cream Man almost feels like a zero-budget precursor to Stranger Things, with the kids knowing what’s happening in their town while the majority of the adults are too self-absorbed to notice. One of the kids is a Macauley Culkin look-alike known as Small Paul (Mikey LeBeau). He comes to admire Gregory and his murderous devotion to ice cream. The movie’s really stupid but it’s clearly not meant to be taken seriously and Clint Howard really throws himself into his role. One thing that makes Ice Cream Man enjoyable is that you know Ron Howard had to sit through it because his brother’s in it.
The most interesting thing about Ice Cream Man is the number of recognizable actors who appear in tiny roles. David Warner is the town’s reverend. David Naughton is a clueless father who is married to Sandahl Bergman. Jan-Michael Vincent is a detective. Olivia Hussey is Gregory’s former nurse. Former baseball player and future senatorial candidate Steve Garvey plays another parent. With the exception of Vincent, it’s hard not to believe that the members of the cast didn’t have anything better to do. Never underestimate the appeal of a quick paycheck.
Clint Howard has said that a sequel is in pre-production. The Ice Cream Man will return.
Today’s horror scene that I love is from George Romero’s 1978 zombie masterpiece, Dawn of the Dead.
The first time I saw this film, I was so upset when Roger died. Not only was Roger my favorite character but I also knew that if Roger — who was so funny and so charismatic and so competent — couldn’t survive then that meant that no one was going to survive.
Dawn of the Dead (1978, dir by George Romero, DP: Michael Gornick)
Dario Argento not only produced and edited the European cut for 1978’s Dawn of the Dead, he also introduced George Romero to Goblin. The Italian band, famous for their horror movie soundtracks, provided the classic score to Dawn of the Dead.
(Admittedly, the score is is used far more prominently in Argento’s cut of the film than in Romero’s.)
For today’s horror song of the day, here is Goblin’s Main Theme From Dawn of the Dead.
This October, I’m going to be doing something a little bit different with my contribution to 4 Shots From 4 Films. I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.
Through the Shattered Lens 