Delírios de um Anormal (1978)

... aka: Abnormal Delusions
... aka: Hallucinations in a Deranged Mind
... aka: Hallucinations of a Deranged Mind

Directed by:
José Mojica Marins

This is sort-of a greatest hits package for Brazilian horror master Marins. He not only gets to play both himself and his famous Zé do Caixão / Coffin Joe character, but it also includes previously unreleased footage from numerous earlier Marins movies, including THIS NIGHT I'LL POSSESS YOUR CORPSE (1968), THE STRANGE WORLD OF COFFIN JOE (1968), AWAKENING OF THE BEAST (1970) and The Bloody Exorcism of Coffin Joe (1972). Supposedly, most of the footage from those films featured here were scenes that were removed by the censors. 35 minutes of brand new footage and a framing story has been added to turn it into a new release. Things open the usually bizarre way with a man screaming, a hunchback playing a bongo drum while walking circles around a bikini-clad woman, female body parts appearing from out of frame, hand-crafted credits with blood-dripping lettering on yellow paper, distorted, slowed-down chanting and a nightmare sequence of Coffin Joe admiring an obedient, subservient "superior woman" while simultaneously chastising his competition ("... anguish and pain is the perpetual punishment for the weak and inferior ones!")

The above nightmare is being suffered by Dr. Hamilton (Jorge Peres), and he's about to have another longggg one (all footage from the previous films), this time featuring some kind of Satanic ceremony, owls, pins stuck through flesh, women covered in tarantulas and snakes and being slapped around and whipped, Coffin Joe descending a staircase made of moaning people, lots of poorly executed jump cuts and the constant sound of agony and screaming. This is all edited in an extremely erratic fashion, with individual shots varying wildly in quality and going from black-and-white to color and back again. Dr. Hamilton awakens from this mess of recycled footage understandably confused and screaming. Because of his frequent visions of Coffin Joe, he becomes convinced that the horror character is coming to steal away his wife Tania (Magna Miller). She goes to Dr. Adolfo Hansen's psychiatric clinic for advice, but they're not sure what to do.

The hallucinations continue as we see a man defiling a corpse, some awful looking little monsters set on fire, a guy throwing acid in a woman's face, cannibalism, dismemberment, torture and Tania telling Coffin Joe that she's his slave. They're getting so bad that Dr. Hamilton has been committed to institution. Dr. Hansen phones up Marins and asks for his services. The actor agrees to come see if he can be of any help in curing the maddened doctor. Marin believes the problems may stem from Tania, but he returns to his home where he's hosting a pool party for his employees and reads through his horror scripts looking for the answer. The following day, Hamilton is hypnotized and Marins talks him through his predicament.

The newly-shot footage is horribly photographed and acted, too dark and pretty much just a bunch of incomprehensible rubbish. And if lines like "That unreachable dimension of the unexplored, the unknown and the fantastic forms the fabric of reality in the relentless pursuit of the awakening of perpetuity and the man who dedicates himself to that uncertain mission, find opened the doors of nothingness that lead into everything" make any sense to you, then you're one step ahead of me. Like Awakening, this has more than a little self-satisfied arrogance in the air, with Marins rubbing his chin and noting at one point, "Really incredible. I never thought my creation could make such an impression on an educated person."

This poorly slapped-together hodgepodge does however work fairly well as a sampler of what to expect from the director / star's delirious and imaginative other films. There's enough gore, nudity and assorted craziness to satisfy just about any exploitation fan, though it all gets to be a bit much after awhile. The awesome frozen hell sequence - featuring various body parts protruding from blood-spurting walls, and men walking around whipping people and gouging them with pitchforks - already have me sold on Bloody Exorcism (the only one of the 'repeat' films I've yet to see).

★★

Devil Girl from Mars (1954)

Directed by:
David MacDonald

In the middle of winter; reports of a meteor falling in Scottish countryside hit the radio. Also hitting the airwaves is a report of a convicted murderer named Robert Justin, who's just escaped from prison. Robert (Peter Reynolds) shows up at a quaint inn / tavern called The Bonnie Charney, where his former lover Doris (Adrienne Corri) works, claiming to be a stranded hiker who's lost his wallet and now adopting the alias Albert Simpson. Despite the fact he married and then (he claims) accidentally killed another woman, Doris reluctantly agrees to keep his true identity a secret. Robert / Albert makes an agreement with busy-body innkeeper Mrs. Jamieson (Sophie Stewart) and her alcoholic husband (John Laurie) that he'll work to earn his keep by doing odd jobs around the place since he has no money. Also working there is creepy handyman David (James Edmund) and among the few guests are glamorous London model Ellen Prestwick (Hazel Court), who's actually there hiding from her married lover, and Mrs. Jamieson's young nephew Tommy (Anthony Richmond). While out investigating the meteor sighting, reporter Michael Carter (Hugh McDermott) and professor Arnold Hennessey (Joseph Tomelty) get lost and also stumble upon the pub looking for accommodations themselves.

It doesn't take long for a flying saucer to land right outside the pub. Because it's red hot and will take several hours to cool down, Michael and the Professor decide to go into the nearest village seven miles away for help. Unfortunately, they cannot get their car to start. The phones also mysteriously stop working. Once the spaceship finally does open, leather-clad female alien Nyah (Patricia Laffan) emerges. She immediately zaps old David ("a hopeless specimen") with her laser gun, leaving only a pair of eyeglasses behind. The alien then makes her presence and objective known to the humans. Because of a war between men and women on Mars, in which women were the victors, the birth rate has steadily been on the decrease. Nyah not only wants to test out her organic heat-resistant metal spaceship and "perpetual motion chain reactor beam" but also gather up some strong Earth men to take back to Mars to help repopulate. Her ship needs some minor repairs, so she's created an "invisible wall" around the pub so that no one can go in or out.

Also coming along with Nyah is her robot Johnny, a big, clunky thing that looks like a refrigerator with legs. Johnny's head lights up and it's then able to evaporate trees, a car and an entire building with a laser beam. Nyah herself is capable of hypnosis and mind control, which doesn't quite explain why she's unable to keep the small handful of humans she has to deal with in check. She eventually takes little Tommy aboard her ship and agrees to an exchange with one of the adult men for his release. But just who has a life to spare and is in need of a little moral redemption? Checking out the roster of male characters, I'm sure you'll have no problem working that out.

This minor camp classic (named as one of the "100 Most Amusingly Bad Movies Ever Made" in The Official Razzie Movie Guide) is rather set bound and high on talk and corny melodrama. Keeping the whole thing mildly amusing is Laffan, who's pretty hilarious as the bitchy, humorless, short-skirted alien who seems to take great pleasure in tormenting the humans. She casually pushes the old professor aside, telling him "You are a very poor physical specimen," constantly tells the humans how mentally inferior they are and stumbles upon a meeting, noting "It amuses me to watch your puny efforts." This also has a strange, almost obsessive focus on liquor, with characters constantly drinking, talking about drinking or making a big deal about someone else's drinking. Dated special effects (thought not too horribly bad for the time) and some laughable lines (one of the hysterical females notes "I'm scared! Nothing like this has ever happened to me before!") are good for assorted chuckles throughout.

It was based on a (stage?) play by James Eastwood (who also adapted) and John C. Mather. MacDonald (mostly a TV and "quota quickie" director) also made the Tod Slaughter vehicle It's Never Too Late to Mend (1937), ALIAS JOHN PRESTON (1955) with Christopher Lee and a few episodes of the unreleased Boris Karloff series The Veil (1958)."

★★

Los monstruos del terror (1970)

... aka: Assignment Terror
... aka: Dracula Versus Frankenstein
... aka: Dracula vs. Frankenstein
... aka: Man Who Came from Ummo, The
... aka: Monster Panic: Strange Tactics
... aka: Monsters of Terror, The
... aka: Operation Terror
... aka: Reincarnator

Directed by:
Tulio Demicheli

Surgeon Dr. Kerian Danner (Ángel del Pozo), killed during wartime action, and biochemist Dr. Maleva Kerstein (Karin Dor), killed during an automobile accident, both become revived by aliens who take over their bodies and attain their medical / scientific knowledge in the process. They join forces with another alien - leader Dr. Odo Warnoff (Michael Rennie) - in an attempt to eliminate all of us pesky, weak humans from this planet. They need to conquer Earth because their home planet, Umu, is freezing and they still haven't found a way to create an artificial sun. The three aliens decide that the best way to go about this is to find a way to have attractive girls blindly do their bidding. Because "beautiful women are like magnets," they plan on using them to extract secrets from scientists, politicians and other important people. Their plan starts to come together as they kidnap numerous young women and then brainwash them into servitude by hooking them up to some contraption that looks like an electric chair.

The aliens go to a carnival, where they kidnap beautiful sideshow assistant Ilona (Ella Gessler) and kill a hypnotist. In doing so, they remove a stake from the heart of Transylvanian vampire Janos de Mailhoff (Manuel de Blas); resurrecting him. This occurrence gives the aliens a brand new idea. Why not revive and then clone all famous monsters and then unleash them by the thousands upon Earth? They start by culturing themselves on all things creature by reading "Anthology of the Monsters." After a trip to Waldemar Daninsky's (Paul "Naschi" / Naschy) tomb to steal his corpse, they resurrect the legendary werewolf by surgically removing the silver bullet from his heart and then chain him up in the cellar of their castle headquarters. Waldemar manages to break his chains and then hits the town. He attacks college student Ilsa Sternberg (Patty Shepard), but she manages to get away, so he settles for a hooker named Tootie (!) instead. The aliens manage to recapture Waldemar before he can do any more damage, then it's off to Egypt to get Tao-Tet (Gene Reyes), a mummy, and elsewhere to get a block-headed Frankenstein monster (Ferdinando Murolo).

Things don't go exactly as Dr. Warnoff had hoped because he can't stop his accomplices from being susceptible to human feelings and passions. Maleva keeps demonstrating empathy for prisoners who are punished and, when Warnoff catches her in bed with Kerian, he sends in the Frankenstein monster to strangle Kerian to death. Ilona finds herself drawn to Waldemar, so she eventually frees him and the two run off together. Dr. Warnoff watches everything on magical monitors, which seem to be able to see things anywhere in the world. As bodies start to pile up and people keep disappearing, chief Inspector Henry Tobermann (Craig Hill) discovers that's he got one hell of a weird case to crack. The inspector becomes romantically involved with Ilsa, whose judge father is somehow linked to Waldemar, and both find themselves kidnapped by the aliens. Tobermann is chained up in the cellar and threatened with rabid bats who try to eat out his eyeballs, while Ilsa is laid out for vampire prey.

Naschy (who wrote this using his real name Jacinto Molina Alvarez) was a huge fan of the Universal monster movies and it shows. This seems to want to be the (then) modern day equivalent of something like Frankenstein Meets the Wolf Man (1943) or House of Dracula (1945). It's atypical in the Waldemar werewolf series because Naschy has a sixth-billed supporting role, but you can still tell he wrote it because a hot blonde immediately falls in love with his short, dumpy self and he gets to be the hero at the very end and do battle with the other monsters. The screenplay also happens to be one of the film's weakest points. Though the premise is fun, everything's so hopelessly convoluted that it's often difficult to follow. Very poor continuity doesn't help matters, and neither does the terrible English-language dubbing on the version I watched. There's a restored German DVD of this one and I'm not sure if it makes any more sense. The one I watched (which has French credits) runs 83 minutes.

On the plus side, this is genuinely weird, there are some fun moments to be had here and there, the makeups are pretty good for the time and the cast is full of familiar faces. Rennie, best remembered for his performance in the classic sci-fi The Day the Earth Stood Still (1951) passed away a year after this was released and it turned out to be his final film. Dor, Shepard and Gessler are all nice to look at, though the version I watched seemed to jump away any time there should be some nudity (which may be available in the uncut version). During the scene where a silver bullet is removed from the werewolf, gory footage of a real open heart surgery has been spliced in.

Though the credits list only Demicheli as director, IMDb claims that Hugo Fregonese (who'd previously made 1953's Man in the Attic starring Jack Palance) and Eberhard Meichsner as uncredited co-directors.

★★