skjam: (angry)
Never Take Candy From a Stranger (1960) dir. Cyril Frankel (aka "Never Take Sweets from a Stranger")

The Carter family, Peter (Patrick Allen), Sally (Gwen Watford), nine-year-old daughter Jean (Janina Faye) and Sally's mother Martha (Alison Leggatt) have moved from Britain to Jamestown in Canada so that Peter can take up a job as the school principal there. It's an exciting opportunity for Peter to advance in his career, and away from the crowding and crime of the big cities. But small towns have their own dangers.

Peter and Sally return home late from a welcoming party for the new principal at the school. To their surprise, Jean is out of bed. Seems that she can't sleep from restlessness. As her parents ask about Jean's day, she mentions that she and the neighbor girl Lucille (Frances Green) went to see Mr. Clarence Olderberry Sr. (Felix Aylmer) as he's known for giving out candy to kids. But before he gave them the candy, Mr. Olderberry asked them to take off their clothes and dance for him. Jean doesn't quite understand what's wrong here, but it makes her feel restless, and later she has nightmares.

The adults do recognize what's wrong and dangerous here, and Peter Carter decides to file a complaint. He immediately runs into roadblocks, starting with Police Chief Hammond (Budd Knapp). He doubts the veracity of Jean's story (children have vivid imaginations) and warns that the Olderberry family are rich and powerful in the community. (Mr. Olderberry, Sr. has a bust dedicated to him in the high school.) Clarence Olderberry, Jr. (Bill Nagy) is quick to throw his weight around, promising he'll punish his father's accusers if this goes forward.

The townsfolk either see Senior as a harmless eccentric who did a lot to make the town prosperous, or think that he is a creep, but one whose wealth and power make it pointless to go after. Best to just avoid him! Lucille's father sends her out of town so she can't be forced to give evidence.

Sure enough, the Olderberrys hire a slick lawyer (Niall McGinnis) whose cross-examination tears Jean's testimony apart by confusing and bullying her. Rather than have her suffer further torment, the case is withdrawn. But that's not quite the end of the story.

This movie comes from Hammer Films' experimental period, trying different subgenres to see what went over well, before fully committing to Hammer Horror. This is an "issue" film, dealing with the danger of pedophiles but more so the danger of letting wealth and power ride roughshod over the safety of a community. The setting of Canada is meant to make the story slightly less personal to British audiences, though the opening disclaimer emphasizes that it could happen in any country.

Despite the title, Mr. Olderberry Sr. isn't a "stranger"--Lucille has met him before, he's a mostly respected member of the community, and he has a reputation among the children for giving out sweets. Most people who assault children are not random strangers, but people the child is supposed to trust. Interestingly, he never speaks on camera. This makes him even more sinister-seeming, but raises questions about his mental competence.

Junior sincerely believes his father to be innocent, but is an enormous ass on top of that. Even his "graciousness in victory" comes across as more about his family's power than any real kindness. Finding out the truth and that he could have prevented tragedy all along crushes him.

As expected, the courtroom scene and subsequent miscarriage of justice are uncomfortable to watch. Censorship standards of the time keep it from getting graphic, but wow. The final act is more conventional thriller as the little girls once again meet the old man, but now understanding that he's a danger.

Audiences were not ready for this kind of film in 1960, and it remains one of Hammer's more obscure efforts. It's decently acted and shot, but not brilliant, and social mores have in many ways changed to make it obsolete. Perhaps of most interest to those interested in the treatment of the subject matter in Hays Code-compliant movies.
skjam: from Heavenly Nostrils (Unicorn)
Abraxas, Guardian of the Universe (1990) dir. Damian Lee

Sonia Murray (Marjorie Bransfield) has lived all her life in the small town of Thornbury in Canada. About six years ago, she was assaulted and impregnated by a foreign criminal who'd entered the country illegally. The criminal was almost immediately captured and hauled away by the foreign law enforcement officer who'd been in hot pursuit. Shortly thereafter, Sonia gave birth to a son, Thomas D. Murray (Francis Mitchell). Despite the stigma of being a single mother whose child had no visible father (Sonia hadn't even gotten his name), she's done okay for herself and Tommy, running a health food store. But now the criminal is back in town, and wants to take away her child.

The criminal in question is Secundus (Sven Ole-Thorsen), a former member of the galactic Finder organization who went rogue when he discovered a path to the "Anti-Life Equation" (shout out to Jack Kirby) that will allow him to become completely immortal and omnipotent. This involves mixing his genetic material with a fertile female of certain humanoid races (such as Earth humans) to create a "Komate", a child with telekinetic abilities and enough brainpower to calculate the Anti-Life Equation without discorporating.

Pursuing Secundus is his old partner Abraxas (Jesse "the Governor" Ventura), an eleven-thousand-year-old Finder who we first see having his skin toughened by what looks like electrical torture. His job is made more difficult because by ancient law Secundus cannot be executed, even while resisting arrest, and Abraxas refuses to kill innocents like Sonia or Tommy to remove Secundus' victory conditions. Abraxas must find a way of protecting the two Earthlings while also thwarting Secundus' plans.

A number of professional wrestlers have managed to move into full-time acting careers. Jesse Ventura didn't quite make it, but did have a number of memorable movie appearances, including this Canadian science fiction action flick. He's okay in this role, but the emotionally restrained Abraxas does not allow him to use some of his better emoting skills. Good thing he had politics to fall back on!

Typical for low-budget efforts, this movie tries to have as little "science fiction" as it can get away with. One of the two Finder dispatchers mentions that while humans are no great shakes intellectually, Earth technology isn't that far behind the Galactic standard. And most of the tech that would be harder to show is destroyed in the landing. Far from being a Guardian of the Universe, Abraxas struggles to guard just two people while Secundus cuts a swath through the population of Thornbury.

Mr. Ole-Thorsen is playing Arnold Schwarzenegger-lite, which is a bit disconcerting at times. Secundus kills people for efficiency, because they annoy him, and sometimes for what looks like fun. Unlike Abraxas, he doesn't think of others as real people, only his ascension to godhood is relevant in the long run.

Tommy is voluntarily mute due to his fear of his own developing powers, which apparently involve a verbal component in their full form. This causes the problems you'd expect, including bullying. The sharpest moment in the movie is when the elementary school principal (Jim Belushi) tries to get Sonia to withdraw her son ("This is a normal school for normal children") because it's easier for him than actually stopping the bullies. We only see the bullying ourselves later when Tommy starts using his powers to make a bully back off.

The bulk of the movie takes place in the days leading up to Christmas--I think there might be some residual parts from an earlier draft that would have tied Tommy closer to being a baby Jesus figure.

Political: Abraxas is a "good cop" frustrated by a situation where the criminal has more rights than the prospective victims. His dispatcher specifically orders him to kill civilians as this will resolve the incident faster, and he refuses, trying to find another way (and eventually resorting to a loophole.) Secundus is an ex-cop who allowed the job to fray away any sense of connection with others before he began seeking personal power instead. The local police are bumblers who are in no way prepared for an actual dangerous criminal in their small town and serve mostly as comic relief. Their big moment is fetching a submachine gun from the armory, which actually manages to knock Secundus off his feet for a moment. (It would have been kind of hilarious if Secundus took serious damage from an Earth weapon.)

Content note: What is essentially high-tech rape without any actual sex, children in peril, bullying, an incontinence joke, the tops of women's breasts are shown. (The print I watched was apparently the HBO version, which cut a bit of nudity.) A little bit of gore.

Overall: I'm going to put this in the "okay" category. It's not actively bad, an attempt was made. But it never rises to the level of good, either. Mr. Ventura doesn't have the right screen presence to sell his leading man role, and the overall writing isn't sharp enough to sell the rest of the movie. This is the sort of movie I would settle for if it happened to be on and I was just wanting to have something on while working on another project or stuck in a hospital bed.
skjam: Ghost cat in a fez (fez)
The Fly (1958) directed by Kurt Neumann

Helene Delambre (Patricia Owens) has killed her husband Andre (David Hedison), crushing his head and arm in a hydraulic press at the electronics plant he co-owns with his brother Francois (Vincent Price). This comes as a great shock to everyone who knows the couple, as they seemed so happy together. Admittedly, no one had seen much of Andre in the last few months, but no one believes they quarreled. And they have a lovely son, Phillipe.

Helene collapses from nervous shock, and her doctor prescribes bed rest, so the police inspector has a police nurse look after her. Helene seems obsessed with capturing, not killing, any flies in the house. Does this have anything to do with the fly "with a white head" Phillipe reports seeing?

This film was adapted by James Clavell (of Shogun fame) from a short story by George Langelaan which originally appeared in the Playboy magazine. It's fairly faithful to the story, maintaining the "mystery" framework but shifting the action from Paris to Montreal to keep the French names but have everyone speak in English.

Eventually, there's a long flashback to the part that's famous, as Andre invents a teleportation device, tests it on himself, and makes a horrible blunder. This leads to both his death at the beginning of the movie, and another death at the end, in the most famous scene of the movie.

This was actually my first time seeing the full movie in color, as opposed to the TV cut on late-night black and white. Treating the transformation as a mystery allows the film to use the monster makeup sparingly, a good thing considering the limitations of 1958 special effects. The reveal is effective, and would definitely have been shocking to audiences of the time.

Vincent Price is understated in a role that started his transition from playing urbane, worldly supporting characters to being a horror movie star. Patricia Owens is the one who has to do most of the heavy emoting as Helene, especially after Andre becomes mute. The kid who plays Phillipe does the best he can with the material, and sets up the sequel hook well.

There's a bit of period sexism--Andre is able to devote himself to weeks in the lab inventing because he has a wife and housekeeper keeping everything else running smoothly. And he's clearly filled Phillipe's head with some dubious ideas about women.

Recommended for horror fans who like a slow burn. If you want to just get to the part where the main character gets fused with fly DNA, the David Cronenberg remake may be more your speed.

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