Category Archives: Sybil Danning

Bluebeard-1972

Bluebeard-1972

Director Edward Dymtryk

Starring Richard Burton, Joey Heatherton

Scott’s Review #1,293

Reviewed August 23, 2022

Grade: A-

My expectations of Bluebeard (1972) were of a late-night foray into the world of weird horror. The story is loosely based on a French folktale of a nobleman with a curious wife forbidden from entering a mysterious room. I was anticipating an entertaining experience but nothing more.

To lower expectations, the critic reviews of the film were quite harsh, ridiculing and ripping upper-class actor Richard Burton to shreds calling this film the decline and fall of his career.

Instead, I was treated to luscious art direction created on a small budget and a fascinating, macabre story about a man nicknamed ‘Bluebeard’ (Burton) who kills each of his six former wives while revealing his dirty deeds to wife number seven, Anne, (Joey Heatherton) who he plans to kill.

We learn that Austrian aristocrat Baron von Sepper (Richard Burton) would rather kill his wives than divorce them. It’s the 1930’s and he is a decorated war hero with a secret or two. A lady’s man meets the most beautiful women but quickly becomes bored with them.

He hides their remains in a secret refrigerated room and Anne stumbles upon their corpses. Now, she must escape his clutches to avoid becoming his next victim.

Burton is famous for being the husband of Elizabeth Taylor and appearing in superior films like Who’s Afraid of Virginia Woolf (1966) and The Robe (1953) and was a much sought-after Hollywood star during the 1950s and 1960s.

By the time of Bluebeard’s making, he was a raging alcoholic and needed the film work. However, intentionally or not he is a fabulous addition to the film whether he was sober during shooting or not. He perhaps doesn’t even recall making it.

The most fun with Bluebeard is the anticipation. Once I realized the film was working backward and detailing each of Bluebeard’s six former wives’ murders I was hooked! Each murder is better than the last and poor Raquel Welch as Magdelena is locked in a tomb alive.

In the comical form, the actress plays a slutty nun.

One particular scene had me tickled pink. Bluebeard’s third or fourth wife, a gorgeous blonde who is a chatty ‘motor mouth’ and eager to dive into bed with her new husband, is decapitated via guillotine when she thinks she will finally become intimate with him.

It’s a fabulous sequence that I had to watch twice.

The decapitation scene is nearly rivaled by a titillating girl-on-girl scene between Nathalie Delon and Sybil Danning who plays a prostitute hired to teach Bluebeard’s wife how to enjoy the pleasures of touch and eroticism.

They quickly get naked and kiss.

Instead of being aroused as any straight man would, Bluebeard takes a shear to them impaling them to death one on top of the other. We then realize he is quite inadequate in the sexual department.

It should go without mentioning that folks looking for a PG affair need to look elsewhere. There are enough breasts bared to make the prudish blush mightily. The lesbian scene might leave them running for the hills.

No, Bluebeard is an adult venture for those desiring a healthy serving of female flesh with their bloodletting. The male actors are spared any nudity- that’s the way cinema was back then.

Heatherton does surprisingly well paired with Burton and the chemistry works between them. She is not a top-quality actress but she is appealing and we root for her to escape the madman.

The art direction is tremendous and reminiscent of the attention to detail and craft that Hammer Horror films were able to create around that same period. The velvet red walls in Bluebeard’s massive estate ooze with royalty and sophistication. Each table, chair, and set piece is perfectly placed.

Of course, Bluebeard is pure camp and over-the-top shenanigans but it’s a hoot all the way, never dragging nor taking itself too seriously.

I was pleasantly pleased by Bluebeard (1972) and consider it a must-see for Burton fans desiring some later works sans Elizabeth Taylor. It’s not high-art but it sure is delicious Saturday night fun.

Halloween-2007

Halloween-2007

Director Rob Zombie

Starring Malcolm McDowell, Scout Taylor-Compton, Tyler Mane

Scott’s Review #1,234

Reviewed February 27, 2022

Grade: B

I’ve seen director/musician/entertainer Rob Zombie tear down the house as the headlining second stage act at the metal festival Ozzfest in the 2000s. He’s a striking individual with ferocious energy and a creative persona.

He’s also quite brave to undertake such an undertaking as remaking the legendary slasher film Halloween from 1978.

The results of his 2007 effort simply titled Halloween is a mixed effort but props to him for having the balls to try.

Similar to other horror films he has directed, and his music, there is brutality and rawness mixed with nastiness and a grim outlook. He wisely focuses on the character of Michael Meyers but fulfills too much backstory for my liking.

Part of the appeal of the crazed killer is his mysteriousness.

Michael is played by both Daeg Faerch and Tyler Mane.

The story is a bit of a remake. The new aspect focuses on events that begin on Halloween when ten-year-old Michael inexplicably butchers a school bully, his sister, her boyfriend, and his abusive stepfather. He is sent to a mental hospital for the next fifteen years becoming despondent and fixated on making paper machete masks.

The second part is more familiar territory.

Nearly two decades later he breaks out, intent on returning to the town of Haddonfield, Illinois. He arrives in his hometown on Halloween to hunt down his younger sister, Laurie (Scout Taylor-Compton).

The only thing standing between Michael and a night of bloody carnage is psychologist Dr. Samuel Loomis (Malcolm McDowell).

I stress the point of the nearly impossible task that Zombie faced of remaking or even reviving a film as iconic as John Carpenter’s 1978 masterpiece. Without even pen to paper, there would immediately be those who would mock and trivialize any attempt.

Zombie both wrote and directed the film.

He immediately provides a reason for Michael’s dirty deeds. Close with his mother, played by Zombie’s real-life wife, Sheri Moon Zombie, who does a fantastic job, Deborah is a struggling stripper married to an abusive man. So Michael’s earlier butchery can be somewhat understood by audiences.

My preference is how Michael’s parents were portrayed in the original in their one brief scene. They appear to be an upstanding middle-class couple with a nice house and family. This makes Michael’s psychotic rampage all the more vague and confusing.

A fabulous scene at the mental hospital showcases an ominous moment. It’s Halloween Eve and Doctor Loomis visits the despondent Michael in the outdoor yard. The audience knows he will escape but not when or how things will erupt and who will be slashed, we just know the bloodletting will soon commence.

The rest of the film is standard fare and a letdown compared to the ambitious first half, though there is way more violence and gore than can be imagined. The film feels haunting and brutal with an uncompromising approach by Zombie to kick the killings up ten notches.

It’s like the original Halloween on steroids.

The casting highlights start and stops with the exceptional Malcolm McDowell as the tortured Loomis. The famous actor, forever known as Alex in A Clockwork Orange (1971) carries the film with his expression-filled crystal blue eyes and tremendous acting ability.

Another winning choice is Brad Dourif as Sheriff Lee Brackett. Classic film fans will remember the actor as a mental patient in One Flew Over the Cuckoo’s Nest in 1975 which he was Oscar-nominated.

Scout Taylor-Compton does a decent job as Laurie Strode but can anyone compare to Jamie Lee Curtis? I snicker at the thought. The rest of the actors portraying the teen friends are okay but not memorable.

Followed by Halloween II in 2009, Halloween (2007) received enough attention at the time to give fans a flurry of excitement but with the later recreation and reprisal by Jamie Lee Curtis and others from the original, the Zombie offerings won’t be remembered well.

It’s dirty, bloody, and raw but never terrifying. Zombie adds story points, some that work and some that don’t but I give the man much respect for dusting off a film as brilliant as Halloween (1978).

Reform School Girls-1986

Reform School Girls-1986

Director Tom DeSimone

Starring Linda Carol, Wendy O. Williams, Pat Ast

Top 100 Films-#100

Scott’s Review #348

60037139

Reviewed January 9, 2016

Grade: A

Let’s be honest here- Reform School Girls (1986) is neither a work of cinema art nor a particularly well-acted film.

From a critic’s perspective, it is riddled with stereotypes and objectifies women.

Still, it’s one of my favorite guilty pleasures and has an offbeat charm that makes me want to watch the film over and over again. I never tire of it. I also don’t think it should be reviled, but rather, revered.

There is a perverse magnificence to the film and some similarities to another cult gem- Russ Myers’s Faster Pussycat, Kill!… Kill! (1965)

Critics be damned- not every film needs to be high art!

One of my absolute favorite cult actresses, Pat Ast, famous for another cult gem, 1972’s Heat, stars in Reform School Girls as a vicious prison guard.

Alongside punk rocker turned actress, Wendy O. Williams, they make the film a guilty masterpiece as both women bring their share of odd energy and humor to the flick.

Sybil Danning co-stars as the corrupt Warden Sutter.

The plot of the film is pretty straightforward and it screams late-night fun.

A virginal teenage girl named Jenny is sent to a reform school run by the sinister warden and her sadistic and abusive henchwoman, Edna (Ast). While there, Jenny is intimidated by Charlie (Williams), who rules the roost via bullying and threats. Jenny is accompanied by several other terrified girls, who are stripped and degraded by Edna.

This leads to an attempted escape and protest scene by the girls and others as they try to remove themselves from their tormentors.

Reform School Girls is simply great fun.

The poor acting is actually a strength of the film as one scantily clad female after another prance around the reform school.

Wendy O. Williams regularly wears skimpy panties, bra, and heels, and is laughable playing a teenager since the actress was pushing forty years old.

The culmination of the film is fantastic as a chase ends up by an enormous tower on the grounds of the prison, resulting in the deaths of Charlie and Edna in a dramatic fashion.

Edna’s charred remains are met by an uproar of cheers by the inmates- I half expected them to burst into a chorus of “Ding Dong the Witch Is Dead”.

Reform School Girls (1986) is a perfect cult classic to enjoy on a late Saturday night.