Film Review: Voyage of the Damned (dir by Stuart Rosenberg)


In 1939, an ocean liner named the MS St. Louis set sail from Hamburg.  Along with the crew, the ship carried 937 passengers, all of whom were Jewish and leaving Germany to escape Nazi persecution.  The ship was meant to go to Havana, where the passengers had been told that they would be given asylum.  Many were hoping to reunite with family members who had already taken the voyage.

What neither the passengers nor Captain Gustav Schroeder knew was that the entire voyage was merely a propaganda operation.  No sooner had the St. Louis left Hamburg than German agents and Nazi sympathizers started to rile up anti-Semitic feelings in Cuba.  The plan was to prevent the passengers from disembarking in Cuba and to force the St. Louis to then return to Germany.  The Nazis would be able to claim that they had given the Jews a chance to leave but that the rest of the world would not take them in.  Not only would the Jews be cast as pariahs but the Germans would be able to use the world’s actions as a way to defend their own crimes.

Captain Schroeder, however, refused to play along.  After he was refused permission to dock in Cuba, he then attempted to take the ship to both America and Canada.  When both of those countries refused to allow him to dock, Schroeder turned the St. Louis toward England, where he planned to stage a shipwreck so that the passengers could be rescued at sea.  Before that happened, Belgium, France, the Netherlands, and the United Kingdom jointly announced that they would accept the refugees.

Tragically, just a few days after the passengers disembarked, World War II officially began and Belgium, France, and the Netherlands all fell to the Nazi war machine.  It is estimated that, of the 937 passengers on the St. Louis, more than 600 of them subsequently died in the Nazi concentration camps.

The journey of the St. Louis was recreated in the 1976 film, Voyage of the Damned, with Max von Sydow as Captain Schroeder and a collection of familiar faces playing not only the ship’s passengers and crew but also the men and women in Cuba who all played a role in the fate of the ship.  In fact, one could argue that there’s a few too many familiar faces in Voyage of the Damned.  One cannot fault the performances of Max von Sydow, Malcolm McDowell, and Helmut Griem as members of the crew.  And, amongst the passengers, Lee Grant, Jonathan Pryce, Paul Koslo, Sam Wanamaker, and Julie Harris all make a good impression.  Even the glamorous Faye Dunaway doesn’t seem to be too out-of-place on the ship.  But then, in Havana, actors like Orson Welles and James Mason are awkwardly cast as Cubans and the fact that they are very obviously not Cuban serves to take the viewer out of the story.  It reminds the viewer that, as heart-breaking as the story of the St. Louis may be, they’re still just watching a movie.

That said, Voyage of the Damned still tells an important true story, one that deserves to be better-known.  In its best moments, the film captures the helplessness of having nowhere to go.  With Cuba corrupt and the rest of the world more interested in maintaining the illusion of peace than seriously confronting what was happening in Germany, the Jewish passengers of the St. Louis truly find themselves as a people without a home.  They also discover that they cannot depend on leaders the other nations of the world to defend them.

Defending the passengers falls to a few people who are willing to defy the leaders of their own country.  At the start of the film, Nazi Intelligence Chief Wilhelm Canaris (Denholm Elliott) explains that Captain Schroeder was selected specifically because he wasn’t a member of the Nazi Party and could not be accused of having ulterior motives for ultimately returning the passengers to Germany.  Canaris and his fellow Nazis assume that anti-Semitism is so natural that even a non-Nazi will not care what happens to the Jewish passengers.  Instead, Schroeder and his crew take it upon themselves to save the lives of the passengers.  It is not Franklin Roosevelt who tries to save the passengers of St. Louis.  Instead, it’s just a handful of people who, despite unrelenting pressure to do otherwise, step up to do the right thing.  Max von Sydow, who was so often cast in villainous roles, gives a strong performance as the captain who is willing to sacrifice his ship to save his passengers.

Flaws and all, Voyage of the Damned is a powerful film about a moment in history that must never be forgotten.

The TSL’s Daily Horror Grindhouse: The Erotic Nights of the Living Dead (dir by Aristide Massaccesi)


erotic_nights_of_the_living_dead

It is too a real movie!

Yes, I know that The Erotic Nights of the Living Dead sounds like something that someone made up but the movie totally exists and you probably won’t be surprised to know that it really doesn’t live up to the brilliance of the name.  There is a lot sex but most of it involves a really unattractive guy with a mustache and a perm that makes him look like he should be a part of Anchorman‘s Channel 5 Action News Team so it’s debatable how erotic it is.  The living dead do show up and, let’s give credit where credit is due, the zombie effects are undeniably well done.  They really do look like the dead come back to life.  However, none of the zombies are particularly sexual.  There is a ghost who, in close-up, castrates a man while giving him a blow job but, since she’s a ghost, it’s debatable whether or not she can truly be considered one of the living dead.  Finally, the title promises us “nights of the living dead” but it’s really more of an evening of the living dead.

Details matter.

Released in 1980, The Erotic Nights of the Living Dead was directed by Aristide Massaccesi, a filmmaker who was better known by the name Joe D’Amato.  D’Amato had a deserved reputation for directing some of the sleaziest Italian exploitation flicks of all time, though he also directed one of my personal favorites, Beyond the Darkness.  (For the record, Joe D’Amato was not the only alias used by Massaccesi.  Over the course of his long career, he was credited under at least 43 different names.  Also, for the record, I’ve read several interviews from people who worked with Massaccesi and, without fail, all of them have reported that he was one of the nicest and most generous people that one could hope to work with during the Italian horror boom of the 1980s.)

The Erotic Nights of the Living Dead is really two bad films in one.  The first film features a land developer named John Wilson (Mark Shannon).  Wilson has purchased an island and wants to build a luxury hotel on the island.  However, he’s having some trouble convincing anyone with a boat to give him a ride out to his property.  It seems that the location has a bad reputation.  John finally convinces local boat captain and adventurer, Larry O’Hara (George Eastman), to take him to the island.  Accompanying them is Fiona (Dirce Funari) who is either John’s girlfriend or just didn’t have anything better to do.  (To be honest, it was kind of hard to follow.)  Before heading out for the island, John takes a long shower with two prostitutes and Larry languidly watches as a stripper does a dance that involves popping a champagne cork without using her hands.

The second movie involves the trip to the island.  It turns out that the island isn’t as deserted as Mark assumed.  There’s an old man with a massive bump on his head.  There’s also the man’s mysterious daughter, played by Laura Gemser who also starred in D’Amato’s Black Emanuelle films.  The old man and his daughter warn everyone that they should leave the island but, of course, people are stupid.

Anyway, there are two good things about The Erotic Nights of the Living Dead.  First off, the great George Eastman gets a lengthy scene in which he giggles like a madman and it’s fun to watch because Eastman truly throw himself into the performance.  Secondly, the arrival of the zombies is heralded by a mysterious black cat.  The cat has the most Hellish meow that you’ll ever hear but he’s a black cat so he’s cute.

In the end, though, the best thing about The Erotic Nights of the Living Dead is the title.

From Caligula To El Topo, Lisa Marie Does Six More Trailers


As I type this, it is freezing outside and I have got such a cold!  Fortunately, I have another edition of Lisa Marie’s Favorite Grindhouse and Exploitation Trailers to keep me occupied while I struggle to regain my health.

1) Caligula

I can’t believe I haven’t featured the trailer from the infamous Caligula yet.  There’s actually several trailers to choose from as this film was released in so many different versions.  I’m going with this one because Bob Guccione’s pompous voice over manages to be amusing, annoying, and yet oddly charming.

2) Caligula: The Untold Story

One of the lesser known facts about Caligula is that, while Caligula was being filmed, Italian director Joe D’Amato decided to get in on all the publicity by making his own low-budget rip-off, this one co-starring his frequent muse Laura Gemser (who had previously starred in the Black Emanuelle series and would later design the goblin costumes in Troll 2).  With all the drama around the production of Caligula, Caligula: The Untold Story actually ended up being released first.

3) Troll 2

I don’t really love this trailer, to be honest.  It’s actually a bit dull and it  doesn’t even allow us to hear the guy with the glasses go, “Oh my Godddddddddd!”  But I’m including it anyway because how can you not include Troll 2?  Plus, I also rewatched the documentary Best Worst Movie a few days ago so I’ve got Troll 2 on the mind.

4) Troll

Now, this is a trailer!  It’s interesting that Troll 2 is a bizarre and busy film with a boring trailer whereas the original Troll is a boring film with a bizarre and busy trailer.  Also, listen carefully to the trailer’s narrator because you don’t want to miss the prophetic Harry Potter reference…

5) Strip Nude For Your Killer

From Andrea Bianchi comes this enjoyably trashy giallo classic.  Only the Italians could make a film called Strip Nude For Your Killer.

6) El Topo

“El Topo is bloody…El Topo is sexual…”  It’s also widely cited as being the first midnight cult film.  It’s also one that I’ve been meaning to review on this site for a while.  However, until then, here’s the trailer.  (By the way, some might debate whether El Topo should be included here.  What they’re forgetting is that a good deal of the 70s Grindhouse fare were actually misunderstood art films.  Plus, El Topo did play almost exclusively in grindhouse theaters until John Lennon saw it and declared it his favorite film of all time.)