Posts Tagged ‘nun

30
Jul
17

(NSFW) Malabimba: The Malicious Whore (1979) The Spirit Wants Inside You…DEEP Inside You.

 

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“You have to look. You have to.” – Malabimba, Malabimba, The Malicious Whore (1979)

a Primal Root written review

You know, some movies you have to wait for them to really warm up and get moving. You’re introduced to characters, you learn who they are, their motives and the roles they play in the narrative, then around the twenty minute mark we get to the inciting incident that sets the thrust of the plot in motion and we continue going through the motions from there. You know what I;m saying? Snooze-A-Rama. Malabimba, the 1979 Italian genre blender flick of supernatural horror and pornography does not suffer from any such issue. No, it hits the ground running and does not let up till the final goddamn frame. Whoever coined the term, “All killer, no filler” might have been talking about Malabimba: The Malicious Whore, because holy fuck is thing a full throttle psycho sexual taboo bending fuck fest like few I’ve ever had the pleasure to endure zipper burn watching, hot diggity dog!

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Young, shy, nubile teenager Malabimba’s (Katell Laennec) mother, and matriarch of a once influential and prosperous (they live in a goddamn CASTLE!) Caroli family, has just recently passed away due to a slight case of MURDER under mysterious circumstances.  The film opens on a seance where the family is attempting to contact her spirit for reasons that are not made clear.   Unfortunately for them, but fortunately for the viewing audience, their medium starts flipping the fuck out before becoming possessed by the perverted, malicious, absolutely vicious spirit of the decadent late cousin Lucrezia who immediately begins berating, insulting and sexually assaulting the family. Pop’s  (Andrea played by Enzo Fisichella) has his pants yanked open and his party favor yanked upon before Bimba’s Aunt/Andrea’s voluptuous sister-in-law, Nais (Patrizia Webley) gets her dress torn off exposing her for the entire family to admire then begins making the medium writhe all over the floor in orgasmic screams of horrified ecstacy. As the family carries on with the half nekkid ghostly shenanigans downstairs,  the spirit soon flees to other area of the house, first dropping in on the House Nun/Nurse Sofia (Mariangela Giordano, Peter Bark’s mother in Burial Ground), and gets her masturbating a bit before being forced out of Sofia via Sofia’s strong faith in the big boss man in the sky. NOT TO WORRY!  Quickly after this rejection, the ghost of Lucrezia lays her eyes upon Malabima…who makes the perfect vessel for her rude, perverse, sexually charge atrocities to be acted out upon her family…

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It’s the perfect goddamn set up and Malabimba has it ALL. Incest, profanity, teen sexuality, Nunspolitation, hypocrisy, softcore pornography laced with heavy duty penetration inserts, demonic spirit possession, cock grabbing,  pussy munching, unholy seduction, good vs. evil conflict, murder by oral sex, just to name a few. This is what Malabimba has to offer in a none stop sleazefest that must be seen and experienced to believe. It’s the kind of film that will leave your mind blown out of the back of your head and splattered against the back of your LA-Z-BOY. This is not a sweet, kind, romp in the sheets, no, there is no safety net in any of the unholy love pumping on display in Malabimba, this is a film which boldly charts a moral destroying course to create a filthy, disturbing, highly atmospheric, creepy and erotically charged nightmare unlike any you’ll ever see again.

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Directed by the highly underrated and often overlooked purveyor of many fine Italian Trash Cinema classics as 1981’s Burial Ground, 1976’s Strip Nude For Your Killer and 1972’s What the Peeper Saw, filmmaker Andrea Bianchi has crafted a powerfully nasty, sacrilegious, taboo busting masterpiece in a career built upon such giddy sleaze and exploitation.  Seriously, less than ten minutes in Malabimba’s run time and you already have a 90 minute film worth of drippy, sexual naughtiness. And I am not overstating the facts, it IS this loaded with skin and horror. It feels as if the film is always trying to top itself scene for scene by upping the horror and sex ante, and for this lover of fine filth, it is something I truly admire. This film is all you could ever want and I loved every second of it.

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Honestly, the horror elements are somewhat fleeting as they are generally used as a means to an end leading to sexual encounters which range from disturbing and awkward to down right erotic, sensual and titillating . What really impresses is the fact that the story, as it is, and the characters are not just defined by their salacious nocturnal activities I found myself wondering through the entire film just what will become of the young Malabima and the target of her evil seductive prowess, Sister Sofia, will she stay on the righteous path or end up pulled down to the bowels of Hell by giving in to the cruel sex kitten? Malabimba: The Malicious Whore is sexploitation cinema at it’s down and dirty trashiest, which is it’s grandest form, if you ask me. If you think you might like your sexploitation tasteless and over the edge, and you are not offended by the sight of penises entering vaginas and/or mouths, I highly recommend Malibaba: The Malicious Whore. But you don’t have to take my word for it!

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I PROUDLY award this Grade A slice of filth FIVE out of FIVE Dumpster Nuggets!

Do not miss this suckers! By the way, this puppy is available to rent on DVD at Cap City Video Lounge in Tallahassee, Florida. 😉

Stay Trashy!

-Root

26
Jan
14

Ms. 45 (1981): Vengeance be a Lady or Bullets Over Ballsack

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a Primal Root written review

In the late 70’s and early 80’s horror and exploitation cinema saw a rise in the popularity of the “rape/revenge” sub-genre. In a film of this nature, a woman or man is raped and violated followed by the person violated, or someone close to them, going on a roaring rampage of blood soaked revenge against those who have so violently attacked them or those they love.  Movies like “I Spit on your Grave”,  “Deliverance”, “Last House on the Left”, “Straw Dogs” and countless others were all part of this trend towards vigilante revenge fantasy films, where innocence is raped and the victim must seek their vengeance.  My own idea why this sort of sub-genre sprung up and became so popular were the crime statistics of the time and the general unease in society that the system, and those sworn to protect us, weren’t up to the task and that the only way for us to survive was to take matters into our own hands. The rape/revenge film taps into that deep, dark, fantasy where the victim gets the last laugh against the low lives who savaged them.  In most cases there is a clear line between good and evil and the vengeance is always righteous and well justified in the viewers eye. This evil redneck sodomized this young woman for an hour, so she cuts his dick off and lets him bleed to death in her lovely Airbnb log cabin rentals art deco bathroom. You get to cheer on these folks as they fight fire with fire and watch with glee as the wicked are punished.  It’s a very base, primal formula and story.

Enter Abel Ferrara’s 1981 “Ms. 45″ (aka: Angel of Vengeance”), the story of Thana, a young, mute seamstress working for an up and coming fashion designer and living in New York City where there just so happens to be a constant single file line of sleazeballs and scum bags garnishing the streets, ogling women, and serenading them with wolf whistles and cat calls as they walk by. We get to experience this uncomfortable, sexist deluge through the female POV came of those unlucky ladies having to ignore and endure this harassment and MAN is it effective.  As Thana makes her way home from work she is accosted and raped at gun point in broad daylight down an alleyway by a man in a Halloween mask. Before departing, the man threatens that he’ll be back before booking it off into the sunset and surely haunting Thana’s every waking moment for the rest of her life. And in one terrifying moment, actually does appear as a nightmarish phantom hallucination to Thana as she tries to undress and take a shower after the attack.

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Thana, in shock, makes her way back to her apartment only to find a burglar has broken in and is waiting for her. Again, she is raped at gunpoint…but this time she strikes back and bashes her assailant’s skull in with an iron. As she begins disposing of attackers dead body, which she has sawed into several pieces and begun depositing all over New York City wrapped in shopping bags, she’s chased on foot by a young man that has mistaken one of these bags as something she accidentally dropped and is trying to give back to her. For his trouble, Thana shoots this poor sucker in the face.

Before you know it, Thana is a woman on a mission. As she gains confidence and a thirst for vengeance she transforms from a mousy young woman to a deadly black widow. Dressing more provocatively, wearing makeup and pulling her hair back, Thana takes to the night time streets of New York to murder as many abusive, rapey, evil men as she can find. She ends up blowing away a pimp seen beating a hooker, a gang of would be rapists and a man in a limousine who tries to offer her cash for sex. It’s a blast watching Thana take out these sleazy, violent cocksmiths. One can clearly see how Thana perceives these men as threats  and you cannot help but cheer as she delivers hot, blood spattering, genital mutilating vengeance from the barrel of her gun. I must admit a certain feeling of satisfaction witnessing this carnage.

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But “Ms. 45”  is a more complex film than your typical black and white, Good vs. Evil rape/revenge film.  “Ms.45” exists in a more realistic world painted in varying shades of grey.  Thana pursues the advances of a creepy, aggressive photographer. The man comes on to her in a restaurant, follows her down the sidewalk yapping her ear off until she agrees to go to his studio. Once there, she guns this guy down in cold blood. The man was obviously a creeper, treated Thana as subhuman, another conquest to stick his teeny weenie in, but did the slimy bastard deserve to die? He never actually succeeded in harming Thana or actually proved he had any intention to.  He was gross, nasty and aggressive…but he never actually hurt anyone during his time on screen.  As a viewer, I sure as shit didn’t want to spend any time with this guy, but did he earn the bullet riddled dose of death he received?

For Thana, it steadily grows from a quest for vengeance to a gender specific killing spree as she begins targeting anyone with the offending genitals. she stalks down a young, Asian man who she eyed making out with his girlfriend. The man was just kissing the woman he is attracted to and it’s completely mutual! No force, no rape, but Thana no longer seems capable of  discerning what is right or wrong, healthy or unhealthy, and in her bloody quest for revenge has found herself becoming a monster herself.

“Ms. 45” reaches it’s climax at her fashion designer bosses’ Halloween party. Thana dresses up as a nun, attends the party as her bosses’ date, and packs some heat below her garter. In a chilling, horrifying, slow motion finale Thana opens fire on every man at the Halloween party. The crowd screams, begins panicking and trying to escape the barrage of gun fire.  This woman we were once rooting for has blurred the line so completely between good and evil that she is willing to kill any man at all because she sees every man as a threat. It isn’t until a friend of Thana’s,  one of her female co-workers, grabs a butcher knife, sneaks up behind Thana holding the blade at crotch level, making the phallic symbolism unmistakable, and then plunges it into Thana’s back, that the killing finally stops. Thana turns, her eyes widen in shock as she realizes it was a fellow woman who has killed her, sliding the phallic knife into her. The mute Thana then whispers her one and only line, her dying word, “sister” and falls to the ground dead.

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Abel Farrara created one of the most unique, disturbing and thought provoking films in this sub-genre of horror, and incidentally, one of the more interesting of the 1980’s. The film seeks to bring the idea of blind vengeance into the discussion of rape and revenge. When does  revenge simply start becoming mindless killing? Is it ever justified? When does the hero become the villain? These are questions few films within this sub-genre take the time to ask . In “Ms. 45” we are given plenty of time and opportunity to meditate on just what has happened to Thana, where Thana finds herself at the end of the movie, and the mechanics of our own reaction to the steps in her journey from victim, to vigilante to victimizer.  This very well might be why “Ms. 45” is so effective, so chilling and so infinitely open for debate and discussion.

Thana is a voiceless woman in a city overrun with outspoken, sexually aggressive men. Once irrevocably turned into a victim she finds an artificial voice in violence, in the firing of her gun and the killing of others. She cannot scream for anyone to stop, but her gun has the power to scream and stop her tormentors.  It isn’t until the end, when she is stabbed to death by another woman, that she finds her true voice, and in my opinion, opens her eyes to the horror of what she has begun. She is no longer an angel of vengeance but a demon of destruction. By the evil of others, she herself, has become an evil doer.

Of course, this is just The Primal Root’s take on the movie. I would love for you to check it out sometime and share your thoughts on the “Ms. 45” and just what you took away from this flick.

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Also, let me just say Zoë Tamerlis Lund, who played Thana, is remarkable. with only one line of dialogue in the course of the film, Zoë manages to make Thana into a fully fleshed out,  believable, human character.  Zoë was one remarkable, creative talent and a natural beauty with screen presence to spare. She even went on to co-write Abel Ferrara’s notorious “Bad Lieutenant” starring Harvey Keitel.   Sadly, Zoë was a long time heroin addict and died of drug related heart failure in 1999. she was 37 years old.  For more on Zoë I highly recommend http://www.zoelund.com/ which is run by Robert Lund.

I forgot to mention, there is also a subplot featuring Thana’s obnoxious landlady and her yapping mutt. At one point Thana takes her land ladies’ dog for a walk intent on killing it. She ties the dog to a pole, and draws her gun ofn the cornered mutt. We never see Thana kill the pooch but it’s assumed that she did only to have the poor little guy return home right before the credits roll. It’s an interesting note to end the movie on, that Thana so easily can kill a man, ANY man, before she could kill a dog.

Certainly not a feel good movie, and surely as shit, it ain’t for everyone, “Ms. 45” is an excellent piece of exploitation, horror, Trash Cinema. It’s well worth checking out and deserving of it’s Cult Classic status.  I’m giving “Ms. 45” FIVE out of FIVE Dumpster Nuggets.

Stay Trashy!

-Root

10
Jan
12

The Devil Inside: The Devil’s in the Dullness

a Primal Root written review

Man, The Blair Witch Project feels like it was ages ago…Well, here we are with another quickie cash in on the current super cheap “found footage” trend. This time instead of a ghost, alien or witch we’re dealing with the ever freaky prospect of exorcisms. A found footage concept that’s been done before recently and a bit better in 2010’s  “The Last Exorcism”.  Hey, at least that film managed to be even remotely entertaining for more than 5 minutes of it’s run time…

The Devil Inside is the story of a young woman looking to close a chapter in her life that’s plagued her since she was a child. Her mother’s condition which led her to slay three clergy members during her own exorcism. Mom was shipped off to Italy in order undergo treatment for her mental illness but her daughter Isabella isn’t so quick to rule out demonic possession.  This is the mock-doc of Isabella’s trip to Italy to visit her mother where she encounters real life exorcists who take her out on dates to watch them work their brand of incompetence on young ladies who can pop ‘n’ lock like none other! This is the true story of when demons stop being polite and start getting real…

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Long gone are the days of the possessed spewing bile into preachers faces, no, nowadays they are more likely to spray you copious amounts of vagina blood like fruit punch squeezed forth from the little straw pocking out of the top of a Hi-C juice box.  And that kind of shit is fun to watch. It’s freaky, it’s unnatural, and it is pretty gross (unless you’re into that sort of thing, in which case, this flick might get ya hot under the collar.) and it works. The strongest element of this film are these scenes of demonic possession and the battle to rid these folks of their hellish ailments. And these scenes are pretty captivating, the strongest of which, involves a priest performing a baptism on an infant.

The sad fact is, none of these scenes really mean much, because the filmmakers forgot the create interesting characters the audience could empathize with. Fernanda Andrade as Isabella seems completely void of emotion for the duration of the picture. During these intense, violent and over the top exorcism sequences (one of which involves her own mother) the camera every so often pans to Isabella for a reaction shot. And as the blood spews forth from splayed vaginas and priests that are as physically imposing as a five year old get tossed across rooms and into walls, Isabella’s typical reaction is utter boredom. This reaction pretty much sums up my reaction to the other 97% of The Devil Inside.

Dramatic recreation of the look on my face when "The Devil Inside" ended.

And in so lies the films ultimate weakness: dullness. There’s just nothing happening foe the majority of the film. We get some priests debating the whether exorcism is real or just mental illness (guess which debate wins out in the end!), people bickering, and montages of Isabella walking around Italy looking bored and uninterested.  Now, I can;t be sure where the fault should really lie for such a boring film. I mean, this is supposed to be a documentary film gone wrong, correct? Depressingly enough, the guy behind the camera never comes off as a competent filmmaker to begin with. So do we blame the fictional documentary filmmaker? IS he supposed to suck at his profession? Or is it the actual filmmakers themselves who can’t put together a thoughtful, exciting, engaging film on the subject of mental illness, family ties, faith and possession? Why waste such a potentially good story on the same tired formula that Paranormal Activity has exploited for three movies?

Because people eat this shit up for some reason. 1. Have nothing interesting happen for 45 minutes of screen time. 2. Insert a loud dog barked 3. Watch everyone jump and scream in shock as your film takes the bold step of having something actually happen4. Profit. This is fucking LAZY film making, people. This is the kind of thing that gives the horror genre such a bad name. And this is the kind of vacuous, meaningless, fast food offerings the mainstream horror audience is fed and they slurp up as if it’s filet mignon.  Mainstreamers, you have steadily acquired a taste for Grade-A dookie. Yes, you are being served heaping spoonfuls of shit.  There’s nothing interesting here. Nothing thoughtful or truly horrifying nor is there anything campy or fun about The Devil Inside. It simply exists with just about nothing to offer.

Despite some relatively strong performances from supporting players Simon Quarterman and Evan Helmuth as two young renegade exorcists who aid Isabella in her quest and Suzan Crowley as Isabella’s Mother,  Maria Rossi, who pretty much steals the show with every scene in which she appears. She, alone, nearly makes the film worth it. If only we had more time with her.  The film also kicks it into high gear towards the end of it’s running time where it even hints at becoming interesting.  Really. the final ten or fifteen minutes promise of some great rewards only for the movie to pull the rug out from under us and leave us with nothing but frustration and 90 minutes of out lives wasted.

I’m sure they are saving all that for the sequel, which is at this point certain, after this honking log of shit somehow managed to ingest 36 million dollars of hard earned dollars from the accounts of countless movie goers this past weekend despite terrible notices and an ad campaign that looked more like a warning. I guess it proves my old theory that pure evil always works when it’s far more subtle. Why drive the audience completely fucking insane with something truly horrific and mind altering when you can simply bore them to the point of  crying in uncontrollable sobs of pain and suffering for 10 bucks a head?

That, my friends, is the true face of The Devil…

Stay Trashy!

-Root




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