Mondo Macabro: Weird and Wonderful Cinema Around the World
Pete Tombs
Language: English
Pages: 192
ISBN: B00KUY4D1S
Format: PDF / Kindle (mobi) / ePub
Pete Tombs, author of "Immoral Tales", now brings readers into the exotic, erotic, and eccentric international film scene. Fully illustrated, Mondo Macabro includes an Indian song-and-dance version of "Dracula"; Turkish version of "Star Trek" and "Superman"; China's "hopping vampire" films, among other movies, and much, much more. 332 illustrations of color photos.
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particular genres. Toho made science fiction and comedy movies — it was from their Tokyo studios that the famous Godzilla series came. Daiei specialised in costume dramas and were renowned in the West for films like Rashomon and Ugetsu Monogatari — the sort of Japanese films that won prizes at international festivals. Nikkatsu was home to youth-oriented action films and, later, classy sex films in the studio’s romantic pornographic (or ‘roman porno’) series of the seventies. Shochiku, once the
attracted to Naomi by her Western attributes (she reminds him of silent film star Mary Pickford). He adopts her and tries to turn her into his ideal woman. This combination of Pygmalion and Lulu soon turns the tables and ends up destroying her creator. In a climactic scene, Naomi gets on Joji’s back and rides him like a horse. Soon he is forced to watch her enjoying an increasing stream of foreign lovers. Chijin no Ai has been filmed several times, the best version being Yasuzo Masumura’s 1967
horror fiction in Japan was Edogawa Rampo. His work had first been brought to the screen as early as 1927. However, it was during the post-war period that the studios really began to take an interest in his stories. With traditional samurai dramas banned by the allied forces, there was a need for contemporary but equally popular stories to turn into films. Palette Knife no Satsujin (The Palette Knife Murder) was released in 1946 by Daiei, and Shochiku and Toei followed suit with Yurei To (Ghost
makes his excuses and leaves, these films really want to have it all ways. The 1983 film Kamp Tawanan Wanita (War Victims) begins with Armilia, a defiant guerrilla woman, refusing to reveal the location of the rebel forces. Her Japanese tormentors force her to strip naked and parade her round the camp on the back of a donkey. “She could miscarry if they’re not careful,” one of the other women prisoners comments. No sooner said than we see a trickle of blood flowing down Armilia’s leg. The
shocked to discover the walls adorned with portraits of a woman who is the exact image of his girlfriend. It turns out that she is the reincarnation of someone the vampire loved and lost many centuries before and for whom he has been searching through time. Devil in the disco in Wohi Bhayaanak Raat. As the rebirth theme demonstrates, Talwar was keen to incorporate traditional Indian elements into his horror movies. This is something that marks him out from most of his contemporaries. His
