The Creation of the Humanoids (1962, dir by Wesley Barry)
What makes us human? What does it mean to have free will? What is love? What is freedom? The questions and more are asked in the low-budget (and rather odd) science fiction epic The Creation of the Humanoids, which you can view below!
Now, I should warn that Creation of the Humanoids is an extremely talky film. And the plot is occasionally difficult to follow. There’s a lot of ennui to be found in this particular film, both from the humans and those who have been built to serve them However, I find it impossible not to love this one because it’s just such a strange movie. I love it for the colorful set design, the contrast between the resentful robots and the paranoid humans, and the fact that the film — despite being made for next to nothing — actually has more ambition than anything ever made by several of the more successful directors working today. And, while it may not really be a horror film in the way that some of our other October films are, it still feels appropriate for the Halloween season. It just has the perfect holiday atmosphere.
First released in 1962, Creation of the Humanoids was reportedly one of Andy Warhol’s favorite films. Keep an eye out for Plan 9 From Outer Space‘s Dudley Manlove.
First released in 2007 and produced by The Asylum, The Apocalypse opens in much the same way as many Asylum films. An asteroid is hurtling towards the Earth. It crashes into our planet without warning, destroying the town of Monterey. (“And nothing of value was lost!” says the old timey Borscht Belt comedian.) Then more asteroids strike the planet, causing mass panic. The power goes out. People desperately try to reach their loved ones.
And then a tornado hits out of nowhere.
And then the state of California is suddenly hit by torrential rainfall.
And then….
Well, you get it. Things are not going well in California or in the rest of the world. As I said at the start of this review, the Earth being bombarded with asteroids is a pretty common theme when it comes to the Asylum. Indeed, anyone who has watched more than a handful of Asylum films is probably already picturing the stock footage of the asteroid hurtling through space with Earth in the distance. I’ve lost track of how many times I’ve seen that rock start to burst into flames as it enters the atmosphere.
What sets The Apocalypse apart from other Asylum asteroid films is that, after the first asteroid hits, people start to vanish. They’re not crushed underneath an asteroid, or at least they aren’t as far as we can tell. Instead, they just seem to vanish into thin air, as if they’ve been taken to another place. Those who do not vanish can only stand around and wonder why they didn’t go to church more often….
“I’ve been left behind,” one character says and yes, this is indeed a mockbuster version of the Left Behind films. I guess it makes sense. The Asylum has produced mockbuster versions of every other genre out there. Why shouldn’t they also try to cash in on the end times. Really, one has to respect the fact that the Asylum managed to make its own Left Behind film without abandoning the idea of the world being bombarded by asteroids.
(And, if we’re going to be honest, the idea of God using asteroids to destroy humanity actually makes a lot more sense than the usual story that these films tend to tell. I mean, asteroids have to be good for something, right?)
The Apocalypse follows Jason (Rhett Giles) and Ashley (Jill Stapley), a divorced couple who are trying to make their way through the state of California so that they can see their daughter Lindsay (Kristen Quintrall) before the world ends. Along the way, Jason and Ashley discuss their own failed marriage and their guilt over the death of their son. Though Jason and Ashley do have to deal with some unexpected weather and asteroid events, the film itself is surprisingly somber for an Asylum film. There’s far less self-referential humor than in the usual Asylum film. The pace is deliberate, thoughtful, and, to be honest, a bit too reverential for its own good. The world ends but it ends very slowly. This is probably the talkiest film that the Asylum has ever produced.
That said, the film does create a believable portrait of the type of desperation that would accompany the end of the world, with the various characters all attempting to find some sort of peace before everything ends. The special effects may be a bit cheap but the images of deserted streets and desolate countryside are far more effective than what one might expect from an Asylum film. This is a case where the mockbuster, flaws and all, is still superior to the original.
Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Thursdays, I will be reviewing Highway to Heaven, which aired on NBC from 1984 to 1989. The entire show is currently streaming on Freevee and several other services!
This week, things get a little bit sad on the highway to Heaven.
Episode 2.19 “Heaven on Earth”
(Dir by Michael Landon, originally aired on February 26th, 1986)
Now, this episode made me cry!
While visiting an amusement park on their day off, Jonathan and Mark come across a lost six year-old girl named Sarah (Morgan Nagler). Jonathan offers to take Sarah to the park’s security office but Sarah says that she’s not allowed to go anywhere with a stranger. After explaining that he’s a former cop and knows how to deal with lost children, Mark asks Sarah for the name of her mother. After learning that Sarah’s mother is named Nancy, Mark goes to the security office and has them page her. Soon, Sarah and Nancy are reunited. Yay!
Later, as they drive through the desert, Mark and Jonathan are nearly run off the road by a drunk driver. A few moments later, they come across an auto accident. The owner of a jeep swerved to avoid the drunk and instead crashed into a station wagon. Jonathan suddenly tells Mark that they should leave but Mark walks up to the overturned car and discovers that it was being driven by Nancy. Nancy survived the accident but Sarah did not.
Broken-hearted, Mark blames himself. He tells Jonathan that, if he hadn’t been so eager to show off, Sarah and Nancy wouldn’t have left the park when they did and they wouldn’t have been in the car accident. Mark pulls the car over to the side of the road and tells Jonathan to get out. Jonathan reluctantly does so and Mark drives off.
Mark drives until the car runs out of a gas on the outskirts of a small town. The proprietor of a local store tells Mark that the town’s pretty much been dead since the new turnpike was built. There are two gas stations but they’re both closed on Wednesday because the owners like to go fishing together. Reluctantly, Mark goes to the local boarding house and asks for a room for the night.
Mark is shown his room by a helpful girl named Wendy (Alyson Croft). Inside his room, Mark spots a picture of Wendy with Sarah and realizes that Jonathan led him to the boarding house. Later, at dinner, Mark meets Wendy’s father, a divinity student named Tom Ward (Michael Anderson, Jr.) When Wendy goes to call her friend Sarah to find out how the amusement park was, Mark can only sit in silence as Wendy tells her father that Sarah’s family wants to speak to him. Without telling Wendy why, Tom says that he has to go to Sarah’s house. He tells Wendy to get to bed early and then he leaves with his wife and their infant son.
Mark goes back to his room. Wendy pops in and to give him a heater because the furnace is broken. Unfortunately, the heater is also broken and makes an annoying clicking sound. Mark angrily kicks it over before going for a walk.
While standing outside of a church, Mark hears the sirens of fire engines. The Ward house is on fire! The firemen manage to get out Wendy’s grandmother but they say there’s no way to rescue anyone else. Mark rushes into the house, determined to save Wendy. And …. he promptly faints.
When he awakens, he’s with Jonathan. Jonathan says that “the boss” has decided to give Mark the chance to play God. Mark says that he wants everything he wishes to be true and that he wants all of his mistakes to be corrected as if they never happened.
As a result, the town is suddenly thriving but the proprietor of the now 24-hour gas station is dead as a result of having worked himself to death. Wendy is alive but, because Mark wished for her to have everything she ever wanted, she’s now a spoiled brat. And Sarah….
When Mark demands to see Sarah, Jonathan takes him to the cemetery and shows him that Sarah is still dead. Jonathan explains that Sarah’s death was not his fault. It was the fault of the drunk driver and there was nothing Mark could have done to save her.
Mark awakens in the burning house. Not only does he manage to save Wendy’s life but, once he’s released from the hospital’s burn unit, he and Jonathan once again hit the highway….
This was a good episode, though I have to say that the Wards were a lot more forgiving about Mark burning down their house than I would have been. This episode worked largely due to Victor French’s heartfelt performance as Mark. Watching him, it was impossible not to feel his pain. In the end, the message was a good one, though I do think it would have been nice to see the drunk driver punished for his actions.
Tonight’s episode of One Step Beyond features Jocelyn Brando (sister of Marlon) as a purported psychic who warns a skeptical man that he will soon be traveling by train, that he will meet a woman with an usual, snake-design ring, and that she will end up chasing him with a knife.
The man laughs her off. Why, he never travels by train! Sure, he has a trip coming up but he’s already paid for his plane tickets. This just proves what the man has always suspected, that psychic’s are all phony! But then he gets a message that his flight has been cancelled and he’s going to have to travel to his destination by …. TRAIN!
CAN YOU PROVE IT DIDN’T HAPPEN!?
This episode originally aired on February 3rd, 1959.
Filmed in 1982 but not released until 1984, Boogeyman II is — as the name implies — the sequel to 1980’s The Boogeyman.
What’s that, you say? You don’t remember anything about The Boogeyman and you don’t want to take the time to read my review of it? Well, don’t worry. It’s not necessary to have seen the original Boogeyman to follow the sequel, largely because the sequel is full of flashbacks to the first film. Boogeyman II is only 79 minutes long and 30 minutes of that running time is taken up with footage from the first Boogeyman. Indeed, if you want to see the good parts of Boogeyman without having to deal with any of the filler, I would recommend just watching the first 30 minutes of Boogeyman II.
There is a plot to Boogeyman II, kind of. Having survived the massacre of her family at the farm, the now-divorced Lacey (played by Suzanna Love, the then-wife of director Ulli Lommel) goes out to California to visit her friends, actress Bonnie (Shannah Hall) and her husband, director Mickey (Lommel). How is it that Lacey, who was portrayed as being a simple and not particularly worldly farm wife in the first film, happens to be friends with a wealthy actress and director? It’s never really explained.
Bonnie and Mickey ask Lacey whether or not the people who killed her family were ever caught. Lacey replies that they can’t be caught because they’re spirits. Over dinner, Lacey tells Bonnie and Mickey the story of the shattered mirror and the killer whose spirit was trapped in the broken glass. Bonnie and Mickey listen sympathetically, though they both think that Lacey’s crazy. (Perhaps they noticed that Lacey’s flashbacks include scenes in which she wasn’t even present. Or maybe they’re wondering why Lacey would take the time to apparently describe a lengthy, bondage-themed nightmare that she had during the first film. Or maybe they’re just amazed by the presence of John Carradine in the flashbacks.) Bonnie and Mickey also think that Lacey’s story would make a great movie!
For some reason, Lacey is still carrying around a piece of the haunted mirror. This is the mirror that contains the spirit that possessed her during the first film and which killed the majority of her family. I would throw that piece of the mirror away but I guess Lacey’s more sentimental than I am. A creepy butler named Joseph (Sholto von Douglas, a rather stiff actor who still had a fascinatingly menacing screen presence) steals the piece of the mirror and soon, Hollywood phonies are dying.
Boogeyman II was directed by the late Ulli Lommel, a German director who got his start as an associate of Rainer Werner Fassbinder’s and who eventually came to America, where he hung out with Andy Warhol, directed some documentaries about the American punk scene, and married heiress Suzanna Love. Love bankrolled Lommel’s early films, including The Boogeyman. With Lommel, it was always a challenge to figure out how seriously he took any of his films. In interviews, he would joke about being an exploitation filmmaker while, at the same time, claiming that his films were designed to expose the hypocrisy of American society. Boogeyman II is full of phony Hollywood types and there’s a scene where Mickey comments that, in America, “exploitation is a genre.” It’s probably not a coincidence that it’s the servant, Joseph, who uses the mirror to take out the film’s wealthy victims. The opening credits of Boogeyman II appear to literally be written in magic marker. Is Lommel mocking expensive Hollywood productions or could Lommel only afford a box of magic markers? I suppose both could be true.
The best parts of Boogeyman II are the flashback to the first film, which was a genuinely atmospheric horror film with some serious pacing issues. The rest of Boogeyman II is dull, though you do have to appreciate the sense of ennui that Lommel brings to the proceedings. Was the ennui intentional? That’s the mystery of Ulli Lommel.
As for Lommel, he and Love eventually divorced and Lommel ended his career making trashy true crime films that went direct-to-video. As usual, Lommel claimed that his crime films were meant to be a serious critique of everything that was wrong with America. Lommel’s true crime films have none of the atmosphere or occasional flashes of wit that distinguished Lommel’s earlier films. Was Lommel an incompetent director or was he a subversive artist? Again, both could be true. Lommel died in 2017, bringing to close an enigmatic career.
Do you all remember that time that Rod Belding came to Bayside High School as a substitute?
At first, the students were surprised. Rod was the younger brother of their stuffy principal, Richard Belding. Richard was going bald. Rod had long blonde hair. Richard was boring. Rod was exciting. Richard was by-the-book. Rod took chances. Richard wanted to go on a boring class trip. Rod wanted to take the students white water rafting! When Richard called Rod out for the way he was running his class, student Zack Morris accused Richard of just being jealous of his brother. You would think this would get Zack suspended but instead, the studio audience just said, “Awwww!”
But then, the night before the students were due to leave for their rafting trip, Rod told Richard that he had met a flight attendant and he was abandoning the students.
“Cover for me,” Rod said.
“I’m tired of covering for you, Rod. Get out of my school!” Richard snapped.
That said, Richard did cover for his brother. He said Rod had the flu and then he volunteered to take the students on their rafting trip. Kelly Kapowski was so thrilled that she kissed Richard on the cheek, which one would expect to lead to Mr. Belding losing his job once word got out that he had physical contact with a student. Instead, the audience applauded.
Zack asked Richard why didn’t tell the truth about Rod. It turned out Zack had overheard the whole conversation. Richard admitted that the students at Bayside got the less exciting Belding.
“We got the better Belding,” Zack replied as the audience awwed and applauded once again.
The audience was there because this was all an episode of Saved By The Bell. In fact, “The Fabolous Belding Boys” was perhaps the best episode of Saved by the Bell, featuring excellent performances from both Dennis Haskins and Edward Blatchford.
The 2010 short film, Saved By The Belding, tells the story of a group of men who don’t understand that Saved By The Bell was just a television show and that Dennis Haskins and Edward Blatchford were just actors. Hoping to help them regain some sense of reality, their psychiatrist takes them to the Hollywood home of Ed Blatchford. Ed is excited to talk to his fans, asking them if they know him from his work in Last of the Mohicans. The men, however, want to know is he really had the flu or if Richard was just covering for him. Ed, realizing that the men don’t understand that he’s not actually Rod Belding, invites them to join him for dinner at a nice restaurant. However, as Ed is heading to the restaurant, he runs into an old acquaintance — a flight attendant — who invites him to come have dinner with her.
Will Ed abandon his new friends? And will Dennis Haskins once again have to come to the rescue?
Saved By The Belding is a sweet little film, one that views the cultural obsession with Saved By The Bell with both affection and wit. (That said, the cultural obsessions does seem to be waning a bit. For the first time in a long time, it’s next to impossible to find the show streaming online.) Both Dennis Haskin and especially Ed Blatchford deserve a lot of credit for being good sports and appearing as versions of themselves. Ed’s shock when Dennis appeared out of nowhere made me laugh out loud.
Check it out below and ask yourself who got the better Belding.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Thursdays, I will be reviewing Malibu CA, which aired in Syndication in 1998 and 1999. The entire show is currently streaming on YouTube!
This week, a mudslide changes everything …. kind of.
Episode 1.12 “The Big Storm”
(Dir by Gary Shimokawa, originally aired on January 10th, 1999)
Stads and Jason are coming up on their big, six-month anniversary! Stads wants to celebrate at a volleyball tournament. Jason wants to celebrate at the “Puff Daddy” concert. You can really tell how old this show is by the fact that 1) they’re still calling him “Puff Daddy” and 2) they’re taking seriously the idea of wanting to see him in concert.
With Stads annoyed that Jason never seems to want to do anything that she wants to do, Jason turns to Sam for advice. Sam says that Jason should drive into Beverly Hills and buy a necklace that Stads wants. Sam even accompanies Jason on the drive. Awww! What a good freind.
But then — oh no! — a storm hits. Jason and Sam end up getting trapped in their car by a mudslide. Trapped together, Jason and Sam share a kiss. Its a big moment that would have been bigger if it made any sense. Seriously, until that moment, Sam had never shown any interest in Jason whatsoever. But now, suddenly, they’re kissing and preparing to die together. I understand that it’s probably mudslide panic but still, it just feels as if it comes out of nowhere.
Fortunately, Jason and Sam are rescued by the lifeguards (including Stads). Jason and Sam agree not to tell Stads about the kiss. Jason also gives Stads the necklace (Awwww! It’s a nice necklace!) and then suggests that, instead of seeing Puff Daddy, they just have a romantic dinner. Stads agrees.
Unfortunately, at dinner, Stads says that she knows what happened in the car. Jason says the kiss didn’t mean anything, just to discover that Stads was just referring to Jason and Sam talking in general. Stads gives Jason back his necklace and then dumps him. Good for Stads, she deserves better!
This is one of those storylines that would have worked better if I actually cared about any of the characters on the show but, for the most part, everyone is so shallow that it’s hard to really get worked up when they get trapped in a mudslide. As well, it would have helped if Sam had ever previously shown any interest in Jason. As well, while Jason did have a crush on Sam when the show began, that didn’t seem to last long. Two people who produce absolutely no romantic sparks shared a kiss. It didn’t really do much for me.
As often happens with this show, the B-plots were better than the main plot, largely because Brandon Brooks and Priscilla Inga Taylor were both willing to full embrace the absurdity of their characters. After Peter told Murray to stop talking so much, Murray resorted to typing his words out on his laptop and having a computerized voice repeat them. That made me laugh. Meanwhile, Tracy — who is now dating Kip, the dumb lifeguard from the previous episode — explored her artistic side by getting a camera and taking pictures of a shirtless Scott wearing an Abraham Lincoln beard. It was weird enough to be funny.
Anyway, Stads has escaped Jason …. for now. Run, Stads, run!
In the 1978 novel The Spear, Harry Steadman is an ex-Mossad agent who is now a private investigator. Steadman is hired to investigate the disappearance of another Mossad agent and soon finds himself caught up in an international conspiracy of wealthy and high-rnking Neo-Nazis who are hoping to use the Spear of Longinus to resurrect the feared head of the SS Heinrich Himmler!
The Spear is a fast-moving mix of horror and action. Imagine James Bond if Bond found himself battling ancient demons and you have an idea of what The Spear is like. As often happened to James Bond, Harry Steadman is lucky to be dealing with a bunch of villains who just can’t stop themselves from stopping the action to lay out all of their plans. That said, the book does a good job of creating an atmosphere of paranoia and unease as Steadman finds himself going up against an occult conspiracy that involves some of the most powerful people in the world. Like all good paranoia thrillers, The Spear creates a world where literally no one can be trusted. The action is frequently over-the-top and the horror is memorably gruesome. A scene involving a crucifixion is particularly nightmarish. Harry Steadman is a compelling hero, one who doesn’t love violence but who understands what’s at stake. The Spear does not shy away from discussing the evil of the Nazis and, in today’s world where anti-Semitism is on the rise and where people are openly making excuses for Hitler and arguing that the Allies were somehow not the good guys in World War II, Herbert’s novel feels very relevant to the world today.
The Nazis search for ancient artifacts and Himmler’s belief that their power could be wielded for Germany also inspired Raiders of the Lost Ark and Indiana Jones and The Last Crusade. A former chicken farmer and a committed Pagan, Himmler was reportedly a strong believer in the power of the occult and there is some speculation that, along with the Lost Ark of the Covenant, Noah’s boat, and the Holy Grail, the Spear of Longinus was one of the artifacts that Himmler instructed his agent to search for. For all the time that they spent searching, the Nazis apparently never found any of the artifacts that they believed would deliver them to victory. By the end of World War II, even Himmler was secretly negotiating with the Allies. At the war’s end, Himmler committed suicide while in custody of the Allies.
Of course, the real Holy Lance was discovered in Antioch during the Crusades and currently sits in the Manoogian Museum in Vagharshapat, Armenia.
He’s handsome in a distinguished way, even if he’s played some roles that have required him to play down his looks. (Think about his perm in The Brady Bunch Movie or the glasses that he wore in Office Space.) He’s not exactly movie star handsome but he’s definitely good-looking enough to be the star of his own detective series. He’s got the authoritative voice of someone who you instinctively trust. You look at Gary Cole and you see someone who knows what’s going on and who you would probably trust in a crisis.
At the same time, with just about every character that Cole has played, there’s always been a sign of something lurking behind the friendly smile and perfect haircut. At the very least, there’s usually a hint of a threat concealed behind his polite manner. Gary Cole is the ideal actor to play a character who has secrets to hide, whether he’s playing Mike Brady as someone who cheerfully offers up nonsensical advice or telling one of his employees that he’s going to need to come in over the weekend. It’s hard to trust a character played by Gary Cole. Cole has appeared in a wide variety of films and shows. As anyone who has seen Veep can tell you, Gary Cole can be a very funny actor. But where Gary Cole really shines is when he plays the bad guy who no one suspects is a bad guy.
In 2012’a An Officer and A Murderer, Gary Cole plays a very bad guy indeed, Russell Williams. Williams is a colonel in the Canadian Air Force. He’s such a highly respected figure that he was given the job of flying with the Queen of England when she last visited Ontario. Williams has a big house in the suburbs. He has a beautiful wife (played by Nahanni Johnstone). His neighbors love him and they all say hi whenever he’s out for his morning run. Williams had just been appointed the new commander of the local Canadian Air Force base. He’s a respected and beloved figure who raises money for charity, mentors younger pilots, and seems like the ideal gentleman.
But at night, Russell Williams sneaks out of his house and breaks into the homes and apartments of single women. He starts out as an underwear thief, obsessively cataloging all of the bras and the panties that he steals from each house. Unknown to his wife, he has two suitcases filled with stolen underwear. Occasionally, he even wears them himself. The two detectives (played by Laura Harris and Rossif Sutherland) who investigate the break-ins theorize that the perpetrator is going to start to escalate his activities and Williams soon does just that. Williams assaults a young mother, blindfolding her and then filming her while he poses with her. He breaks into another house and removes his clothes while he stares at the homeowner showering just a few feet away. Eventually, two women are murdered. The detectives suspect Russ but can they get him to slip up and give them the evidence that they need to arrest him?
An Officer and A Murderer is based on a true story, which makes it all the more disturbing to watch as Williams breaks into his neighbor’s homes and even tries to frame an innocent man for his crimes. Watching this movie, I found myself wondering about all of the neighbors that I’ve had over the years. Part of living in neighborhood is trusting the people around you but how well do we know the people who are living just a few houses or a few apartment away from us? An Officer and a Murderer tells a sordid story and occasionally, it lingers over the details of Williams’s crimes to such an extent that you worry that Williams’s real-life victims are being exploited all over again. That’s always an issue with films about real-life crimes. That said, Gary Cole gave a genuinely frightening performance as Russell Williams and, if nothing else, the film reminded me to make sure that all of my doors and windows are locked tonight.
The year was 1976 and the flamboyant Italian producer, Dino de Laurentiis, was drumming up a lot of publicity for his remake of the monster classic, King Kong. In Italy, the journalist, screenwriter, and director Luigi Cozzi assumed that the King Kong remake would be a huge hit and decided to get in on the action himself. If Italian audiences loved a film about a big monkey, how about a film about a big radioactive lizard?
Cozzi’s original plan was to buy the distribution rights to Gojira but Toho Studios turned him down. They did, however, agree to allow Cozzi to distribute the American cut of Gojira, Godzilla, King of the Monsters. (That’s the version where Raymond Burr appears as American reporter Steve Martin and, through some clever editing tricks, appears to be interacting with the characters from the original Japanese version.)
Cozzi immediately ran into two huge problems when it came to distributing Godzilla, King of the Monsters. First off, the film was in black-and-white and most Italian theater owners refused to show black-and-white films. Cozzi’s solution was to “colorize” the film by putting translucent gel over the frame, resulting in random splotches of color that gave the entire film what could generously be called a radioactive glow. Secondly, the American cut was considered to be too short for theatrical distribution. Cozzi proceeded to re-cut the re-cut, adding in scenes of actual war footage and clips from other 50s monster movies. As a result Cozzi’s film opens not with Tokyo on fire but instead stock footage of Hiroshima before the bomb was dropped. Later, footage of actual victims of the bomb would he used as footage of victims of Godzilla.
Having re-cut the film, Cozzi then decided that the movie could use a synthesizer-heavy soundtrack, which was provided by Vince Tempera, Fabio Frizzi, and Franco Bixio.
The end result …. well, the end result is a mess but it’s a mess that fascinating for fans of Godzilla. The colorization creates an odd effect, in which the images are all familiar but still seem different, as if being viewed in a dream. Often times, the splashes of color are so harsh and random that it makes it difficult to actually see what’s happening in the scene. I had to look away a few times, due to the harshness brightness of some of the yellows. There are a few times — and by that, I mean a very few times –when the color effects oddly work. In those rare moments, Godzilla’s atomic nature seems to be radiating through the entire movie.
As for the “new footage,” it’s thoroughly tasteless to use actual footage from Hiroshima and Nagasaki but, at the same time, it also serves to remind the viewer of the national trauma that inspired the creation of Godzilla in the first place. The footage reminds the viewer of the horrors of war while also leaving viewers wondering they really should be watching it used in the way that it’s used in this movie. (For his part, Cozzi said he used actual war footage because modern audiences would expect more violence and destruction than was present in the original film. It’s reasonable to assume that any subtext was purely accidental.)
Finally, the soundtrack …. actually, I like this version’s score. It’s wonderfully ominous, especially at the start of the film.
Nicknamed Cozilla by Cozzi himself, 1977’s Godzilla is a bizarre experiment that doesn’t quite work but I would say it’s still one that should be seen by anyone who is interested in the history of either Godzilla or exploitation films in general. (And make no mistake, this version of Godzilla is definitely an exploitation film.) For years, the film was impossible to see outside of Italy. Now, of course, you can find a copy on just about every torrent site.
Through the Shattered Lens