Posts Tagged With: Crime

The Poughkeepsie Shuffle, Reshuffled. BADGE 373 Reviewed.

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Sonny Grosso (l), Eddie Egan (r).

BD. Indicator. Region B. 15.

In 1962, New York cops Sonny Grosso and Eddie Egan masterminded a massive drugs bust, seizing a (then) record haul of 112lbs of heroin. How they got it was chronicled in a 1969 book by Robin Moore, entitled The French Connection. William Friedkin read the book and was very impressed, especially with the maverick figure cut by Egan, reimagined as Jimmy “Popeye” Doyle and played by Gene Hackman in the subsequent Academy Award winning film of the same title (1971). Egan himself played “Doyle”s superior officer and there was also a small role for Grosso. Both were credited as technical advisors and, obviously feeling that films about cops walking the mean streets of NYC were a cushier career option than actually walking them, proceeded to advise on / appear in several subsequent movies. Grosso took a small part in the following year’s Ocar winner, The Godfather, as one of the guys who assassinates Sonny Corleone (alongside Randy Jürgensen, another former cop who followed a similar career trajectory, clocking up roles in The French Connection, Friedkin’s Cruising with Grosso again,  Philip D’Antoni’s The Seven-Ups and the film under consideration here).

158_BADGE_373_BD_2D_packshot_72dpi_1000px_transp_720x.pngHoward W. Koch’s Badge 373 is another highly fictionalised account of Eddie Egan’s “exploits” (as they are styled in his writing credit). This time Robert Duvall plays the Egan character (“Eddie Ryan“) and Egan himself plays his boss Scanlon, who spends most of his time trying, in vain, to get Ryan to toe the line. Ooh, the irony…

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We first make Ryan’s acquaintance during an attempted sting at a Puerto Rican night spot, where he pursues a runaway suspect to the roof, only for the latter to fall to his death. Ryan is is handed a disciplinary suspension but when his partner is bumped off while continuing their investigations into hispanic crime lord Sweet William (Henry Darrow), Ryan disregards Scanlon’s order to stay on the sidelines and goes after his man. Among many other scrapes, this involves him in an epic vehicular chase that is clearly intended to invoke the one in The French Connection but with the twist of Ryan driving a commandeered bus. At the end of this sequence the bad guys make a point of smashing his gun hand after which he pushes himself, Django-style, in preparation for the ultimate showdown with Sweet William (who’s shipping guns to a projected armed uprising in Puerto Rico), a showdown given added urgency after Ryan’s girlfriend Maureen (Verna Bloom) has also been offed.

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Pete Hamill’s screenplay doesn’t do Egan any favours, making no bones about his casual racism. At the same time, the hispanic characters and their daily struggles are sympathetically presented and although Sweet William (below) is a palpable bastard, he gets a final soliloquy in which he rails about the white “justice” system that turned him into one, making some valid points that Ryan can only answer with bullets. J. J. Jackson’s smoky salza score compliments DP Arthur Ornitz’s sweeping Manhattan vistas beautifully.

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Indicators limited (to 3,000 copies) edition UK Blu-ray Premiere comes with a 36 page collectors’ booklet, trailers, TV and radio spots and image galleries. In the featurette Welcome to Fear City, Randy Jürgensen remembers the life and career of Eddie Egan and discusses their experiences in the film industry. In Lethal Enforcers, film critic Glenn Kenny contributes a useful guide to the American maverick cop genre of the ’70s, which I found particularly enjoyable when combined in a double bill with Mike Malloy’s Eurocrime! documentary.

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Move Like Jagger… THE ANNIHILATORS Reviewed

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This is what you want…

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… this is what you get. Try not to shoot each other, boys.

BD. Arrow. Region B. TBC.

While Joe Zito was filming Invasion U.S.A. for Cannon in Atlanta, with a $10 million budget and Chuck Norris in the starring role, another action film was being made just down the block… Charles E. Sellier Jr was shooting The Annihilators (1985) for Roger Corman’s New World outfit, with a considerably less starry (albeit interesting) cast and predictably meaner financial resources at his disposal. Zito’s film made something in the region of seven and a half million dollars profit and was, until 2007, MGM’s second highest selling home video title (only Gone With The Wind kept it off the top spot). As for The Annihilators, well…

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The action commences with a crack team of American special forces operatives socking it to the slopes in Vietnam. Apparently nobody questioned this kind of thing back in 1985… nobody at New World, anyway. It definitely occurred to somebody that the local park setting of these shenanigans wasn’t entirely convincing, so we also get a bit of actual ‘Nam stock footage, some of it looking suspiciously similar to that used in the title sequence of Antonio Margheriti’s Cannibal Apocalypse (1980).

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The Atlantan cannibal outbreak depicted in that classic has thankfully now subsided,  only to be replaced by the scourge of gangs such as The Scorpions, The Turks, and The Rollers. It’s the latter, led by (I kid you not) Roy Boy Jagger (as played by Paul Koslo, arguably the oldest and bushiest coiffed gang banger in Cinema history) who enter the grocery store of Joe Nace (Dennis Redfield), one of the special forces guys we saw in the film’s opening but now confined to a wheelchair, to have a word with him about the resistance he’s been organising to their protection racket. This involves groping and fatally stabbing one of his female customers and beating his head in with a steak tenderiser. Perhaps Charlie Bukowski and his buddies are, after all, still living and dining in the area? Whatever, Dekalb County has definitely seen better days…

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Swept aside by the simple act of annihilation… murder! (Nice hair, Roy Boy.)

Obviously a fan of such Vet Vigilante opuses as James Glickenhaus’s The Exterminator (1980) and Patrick G. Donahue’s Kill Squad (1982), Colonel Bill (Christopher Stone) decides to reconvene his crack ‘Nam team to seek justice for their buddy. Ray Track (Gerrit Graham) is now a successful yuppy but years behind a desk have left him just itchin’ for action. Lawrence-Hilton Jacobs (as martial arts ace Garrett Floyd) is a happily married man, possibly seeking atonement for the part he played in Death Wish (“Mugger in Park #2… uncredited”). Woody (Andy Wood) has been fighting a losing battle with the bottle since being demobbed, but a mission to clear the scum off the streets (plus the prospective love of a good woman) is exactly the kind of motivation he needs to turn himself around.

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Like a cut-price Seven Samurai, the gang conduct crash courses in martial arts for the besieged citizenry and – even more crucially – teach them to knock three times on the nearest worktop, drainpipe or whatever, whenever threatened by bad guys. Sorry, I couldn’t resist it…

 

These tactics are improbably successful in degrading The Rollers’ power base but Colonel Bill ups the ante by hijacking their latest drug shipment, prompting Roy Boy to walk up and down the high street with a flame thrower, demanding his dope back. Faced down by a bit of a drainpipe tapping, he commandeers a school bus a la Scorpio in Dirty Harry (1971) at which point the kids he’s been grooming as future Rollers turn on him… jolly good thing, too. During the narrative wrap up, the ongoing mystery concerning the identity of the squad’s intelligence handler in Vietnam is finally revealed… as if you could give an actual rat’s ass!

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Despite its magpie borrowings from all of them, The Annihilators is no Seven Samurai, it’s no Assault On Precinct 13… it’s not even The Exterminator… but it is a cheesey urban Western, so very cheesey that its elements probably have to be stored at or below 35 to 45 degrees Fahrenheit. From those elemental chunks of emmental, Arrow have fashioned a nice 2K restoration, whose extras include an in-depth examination (a little too in-depth, probably) of the boobs’n’blood stabbing scene that the BBFC excised from previous editions, new Graham Humphreys art work and interviews with Lawrence-Hilton Jacobs and David O’Malley, an erstwhile collaborator of the late Chuck Sellier (below).

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O’Malley talks about Sellier’s unlikely involvement in the Grizzly Adams movies and a series of “Chariots of The Gods” type speculative schlockumentaries and suggests that he didn’t really like introducing any element of confrontation into his films. Those viewers for whom The Annihilators doesn’t really live up to its title (we’re promised “heat on the street” but those sidewalks barely get tepid) might well see the justice of this observation… Sellier must certainly have got out of the wrong side of the bed when he dreamed up the Daddy of all the Killer Santa flicks, the ultra mean-spirited Silent Night, Deadly Night (1984).

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Rules Is Rules… Teruo Ishii Addresses A Significant Gender Gap In YAKUZA LAW

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BD. Region B. Arrow. Cert 18.

Although a perennial, prolific and promiscuous genre-jumper, Teruo Ishii is undoubtedly most famous… nay, notorious… in the West for the series of “pinky violence” epics he initiated in 1968 with Tokugawa Onna Keibatsi-Shi (The Joy Of Torture / Shogun’s Joy Of Torture) and we’ve already covered his Zankoku Ijô Gyakutai Monogatari: Genroku Onna Keizu (Orgies Of Edo, 1969). Constrained by contemporary domestic censorship restrictions on images of the naked female form, these films routinely doubled (and indeed tripled) down on imagery of women’s BDSM debasement, to increasingly delirious and (from today’s vantage point… “the Sadism inherent in The Male Gaze” and all that) decidedly troubling effect.

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Although women are routinely insulted, groped and slapped around for getting uppity in 1969’s Yakuza Law (original title Yakuza Keibatsu-Shi: Rinchi!), it’s main thrust is the dire punishments handed out to (male) Yakuza members who break the code of the underworld (give or take the moll who ends up in a cement block with her gangster boyfriend)… and it’s unrelentingly grisly stuff, at levels consistently way above and beyond the well known scene in Sydney Pollack’s The Yakuza (1974) where Robert Mitchum cuts off one of his finger as honourable atonement for a misdeed.

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After a mind bogglingly gruesome opening compendium of tortures that don’t even occur in the main body of the feature, Yakuza Law begins to unfold, like Orgies Of Edo, as a portmanteau movie told in three instalments though, unlike that film, they play out over discrete historical eras. In that Edo Period, various samurais plot against and double cross each other for advancement in the organisation. I must admit that I found the plot of this section quite difficult to follow (Jasper Sharp’s commentary track helped a bit) but the outcome was clear enough – a stack of mutilated corpses. Fast forward to the Meiji Period, where Ogata (Minoru Oki, later one of the dreaded Masters Of Death in Shogun Assassin) comes out of the slammer, having taken the fall to protect his Yakuza master. No gratitude or payback is forthcoming and when Ogata sees how his allegedly honourable brethren mistreat the locals, he relinquishes his vows, resulting in another predictable pile of mutilated corpses. Stand out moments include somebody hacking out his own eyeball and throwing it in the face of the guy to whom he owed a debt of honour. A word of advice to Mino (Ryôta Minowada), whose criminal colleagues beat and piss on him for some misdemeanour… probably best to register your protests over this treatment with your mouth closed, dude!

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Finally, the action is brought bang up to date (ish) with another tale of internecine gang conflict, headlined by Teruo Yoshida (who plays the idealistic doctor Gentatsu in Orgies of Edo). Technological advances mean that in the late ’60s, traditional swordplay has been replaced by guns, faces are burned with cigarette lighters and renegade yakuza can be locked in cars that are then crushed into cubes. The “guy dangled out of helicopter” sequence and casino scene are straight out of the James Bond franchise (which had visited Japan two years previously with Lewis Gilbert’s You Only Live Twice) and the unlikely feats of marksmanship, eccentric whistling henchmen and prominent poignant poinging of a jew’s harp on Masao Yagi’s soundtrack, not to mention the plot device of a maverick / Ronin playing two factions off against each other, suggest a desire to cop a dollop of Spaghetti Western box office…

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… and yes, I know that virtually the whole of Leone’s A Fistful Of Dollars (1964) was an outrageous pinch from Kurosawa’s Yojimbo (1961) but Ishii was undoubtedly oblivious to such niceties, more concerned instead to pack a plethora of audience attracting elements into these portmanteau pictures to tempt contemporary viewers away from their beloved TV sets. Sharp points out that like contemporary Amicus releases, these films ran on narrative patterns more in tune with people’s telly watching habits, while simultaneously serving up stuff that couldn’t possibly be broadcast on the box.

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Ishii always was a commercial film maker rather than auteur with any kind of message, as he is at great, er, pains to point out in the bonus interview here. The late director was not without a social conscience though, explaining that he stopped directing episodes in the ongoing Supergiants franchise (below) after reports that kids wearing capes were jumping out of windows  and injuring themselves.

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Tom Mes contributes new writing to a collector’s booklet that will appear in the first pressing only. Jasper Sharp’s commentary track, as previously mentioned, is useful in maintaining a running score card on who’s doing what to whom and periodically drawing our attention away from the ongoing outrages to e.g. a particularly painterly piece of composition or the merits of Yagi’s score. He also name checks Morihei Magatani’s Girl Divers At Spook Mansion (1959, below) whose IMDB synopsis makes it sound like an especially deranged episode of Scoby Doo. Any chance of releasing that one, Arrow?

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It’s indicative of this film’s severe imagery that Mr Sharp can introduce its second episode with the observation that it’s the least violent of the three, his comment coinciding with Ogata storming into a rival gang leader’s place and chopping his arm off… that’s  Yakuza Law for you!

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“Hardboiled eggs and NUTS! Huh…”

 

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