Angst

aka Fear
Austria, 1983

Director: Gerald Kargl
Starring: Erwin Leder, Robert Hunger-Bühler, Silvia Rabenreither
IMDB: 7.7

Generally I am a fan of 'psycho killer' movies. Why? Usually for their black humour (Eg: American Psycho, Edmond) or for great acting (Silence of the Lambs). But also I admit to deriving some measure of perverse glee in watching the average Joe take out his rage on society at large in an uncontrolled release of vented frustration.

I mean, who doesn't travel partway along this road from time to time? Luckily most people have a well-conditioned moral centre, reason, and humanity which when combined with the fear of punishment usually ensures that most of us don't go much further than issuing juicy invective in a non-specific direction.

Which is to say that part of the attraction surely lies in the vicarious thrill engendered through watching films where the chief protagonist, for whatever reason, has no such compulsions holding them back. We can enjoy the movie in full knowledge that we ourselves would never cross this line. It may even be somewhat cathartic. And undoubtedly the enjoyment of such movies can be justified, safe in the knowledge that it's "just a movie" after all.

Angst however, is perhaps not "just a movie" being loosely based on the real-life serial killer Werner Kniesek, who was arrested in 1980 after savagely butchering three people in Salzburg, Austria. Additionally, the film's dialogue is entirely in voice-over, telling us "The Psychopath's" inner feelings as he awaits release from jail the next day, eager to resume his sado-sexual killings at the first opportunity, and then following him as he is released from prison with just one thing on his mind. Much of his dialogue is quoted directly from interviews with real-life serial killers including the Vampire of Dusseldorf, Peter Kürten.




What we have here then, is not the typical glossy Hollywood version of a Psycho Killer, nor a stylised cliche - but an altogether more realistic, and therefore far more disturbing one.

Erwin Leder's portrayal of The Psychopath eschews the smooth, calculating and urbane exteriors of characters such as Hannibal Lecter and Patrick Bateman in favor of a more vile and pitiful characterisation, along similar lines as Ted Levine's turn as Buffalo Bill in Silence of the Lambs. He is shown to be chaotic, paranoid, repulsive, and surprisingly ineffective. Basically, pretty fucked up.

Despite being the central character, he is not one you can identify with or root for. Nonetheless we are forced into his world, and into his head, through the aforementioned voice-over and also through some outstanding camerawork from Zbigniew Rybczynski (pronunciation unknown).

The camera takes a floating position somewhat to the side and above the psychopath, rarely leaving him as we are forced to look downwards and watch as events unfold. At other times the camera is employed in a shaky hand-held style, or situated directly behind the actor's head. Interestingly, during the psychopath's triumphant moments, the camera switches position to floor-level, looking up at him looming large, reflecting the state of his ego.



The final part of the equation is the score provided by noted German composer Klaus Schulze. Taking into consideration that this was 1983, the score is eerily fitting and brings to mind Giorgio Moroder's work on Cat People. Ie: It's easily identifiable as "early 80's" with its droning synth lines. This does however add a specific feel to proceedings that suit the time and place of the movie.

Technically speaking this is an interesting film, but due to its realistic and downbeat nature looks low-budget, despite the creativity employed. But then viewers expecting Pirates of the Caribbean production values aren't likely to track down an obscure Austrian film from 1983!



Knowing in advance that French director Gaspar Noe (Irreversible, Enter the Void) has explicitly named this film as an influence, you will have little trouble seeing why. Noe's trademark swooping camera in Irreversible was distinctly foreshadowed here, as was the almost first-person view he used in "Enter the Void".

Which brings us tidily into another Noe comparison for those who recall the infamous brutal rape of Monica Bellucci in his film Irreversible. Let's just say that Noe's version is the tamer one! It is no wonder that director Gerald Kargl had immense trouble getting the film distributed, and even today it is not easy to find. As one IMDB reviewer put it so well, "It makes The Silence of the Lambs and Seven look like kindergarten stuff."




For fans of true crime, and anyone seeking a more authentic psycho killer experience this surely rates as one of the most successful of its type. It's nasty, it's seedy, it's disturbing - just like the crime itself. What was the film's biggest downfall is also its greatest asset - it's honest. Brutally so.

Rating: 7/10. For horror connoisseurs only.

Hannie Caulder

USA, 1971

Director: Burt Kennedy
Starring: Raquel Welch, Robert Culp, Christopher Lee, Ernest Borgnine
IMDB: 6.3

Hannie Caulder is a little-known rape/revenge flick from 1971 starring Raquel Welch. At least those are the attributes I picked up on - it's actually more of a Western with a splash of ribald humour thrown in. It also features Christopher Lee (Dracula) and Oscar-winner Ernest Borgnine, so there's definitely pedigree in the cast. Even though Westerns are not my bag, the cast and synopsis piqued my twisted sensibilities enough to give it a shot.

The film starts promisingly with a hand-drawn title sequence featuring distinctly psychedelic visuals that clue you in to the time period the film was made. I especially like the 2nd screencap below ... it would make a great poster!

 

Three down and dirty bandits, all brothers, are roving from town to town looking for horses to steal, banks to rob, or any other mischief they can find. It seems these guys were meant to be funny in a three stooges kind of way, but any comedic value from their performance was lost on me. They just seemed stupid, and were a weak aspect in a film otherwise blessed with some great performances.

However, they provide some nice scenic shots of cowboys and the wild west, as we follow their travels.



After killing the owner of a ranch in order to steal his horses, the boys get lucky when they find a bonus waiting for them in the homestead. Yup, its the voluptuous Hannie Caulder (Raquel Welch) in the flesh, heaving bosoms and all ... and predictably enough they have their filthy way with her.

But not before brother Rufus adds a little 'rape humour' to proceedings by announcing that he's found supper. Yup, the misogynist tone of the film places it firmly in the 70's!



To top things off they also burn her house down, leaving poor Hannie in the middle of nowhere with nothing but a blanket and a dead husband to bury. What bastards.

Luckily for her, lone bounty hunter Tom Price (Robert Culp) comes along looking for water for his horses. And although they get off to a rocky start, Hannie soon sees how he could help her get revenge on those that have wronged her, eventually persuading him to teach her how to shoot a gun.




Hannie hits the road with him, and we follow them as Hannie proceeds to hunt down the three brothers - a journey that takes them to Mexico and various saloons and brothels. We also meet lecherous townfolk, enigmatic gunslingers, and mexican bandits along the way.

Considering that Raquel Welch was one of the most famous sex symbols of the day, it's not surprising that she is given every opportunity to flaunt her looks. With her flowing mane and sculpted cheekbones, she certainly looks the part.

As a badass babe bent on revenge she is perhaps less successful, at least when judged within the context of the 'girls with guns' genre. Although she cuts a suitably striking figure gun in hand, her soft sexy voice, very feminine figure, and perfectly groomed appearance worked against her in this regard.




There is also quite the preoccupation with her ass ... both in the script and in the cinematography, making it fairly clear where the Director felt the audience appeal lay. Tom comments that its 'the prettiest one I ever saw", and the sheriff also helps himself to a grope (although she has a great comeback for the occasion).

There's even a strangely exploitative scene where a soaking wet Raquel is obliged to massage her new britches in order to get them to fit properly! Of course the camera makes sure that we watch this intimate domestic scene, as she cups and squeezes her butt cheeks into shape.

It's no wonder that Hannie laments later on "Every man I meet is thinking the same thing" - ironic really, as its probably what at least half the audience is thinking too.



Back in 1971 this must have been a fairly controversial film, featuring a multiple rape scene as it does. However you see more skin on the DVD cover than in the film itself, and the vile act concerned was mostly off-camera, as you'd expect with a major star such as Raquel Welch in the title role.

The copy I watched was not the best quality in terms of sound and picture. However, I suspect that if properly restored this could be a good-looking film. There is a new widescreen edition available in the UK which I have not seen. (Edit 24/7/2010 - And a new Region 1 DVD now too.) I have linked to them below for those that are interested.

As an exploitation flick, the film offers little - it's much too tame to be of interest in that genre. However strong performances from Robert Culp, Christopher Lee, and Raquel Welch make the film worth a watch for fans of the lead actress, or for anyone that might appreciate an exploitation-tinged Western.

Rating: 5.5/10

To Be Twenty

Italy, 1978
Original title: Avere vent'anni

Director: Fernando Di Leo
Starring: Gloria Guida, Lilli Carati
IMDB: 6.2

To Be Twenty is an entertaining slice of '70s eurotrash from Italy - 95% hippie sex farce and 5% brutal horror - an interesting mix to say the least. The farce centers on two hot and horny young women and the unlikely scenario that they are having trouble getting laid.

Tina (Lilli Carati) and Lia (Miss Teen Italy, Gloria Guida) meet at the beach while hanging with a bunch of friends. There's no beating about the untrimmed bush here - full-frontal nudity within the first 24 seconds quickly sets the tone. Tina explains that she's young, hot and pissed off. Lia says she is too. They become instant friends.

They decide to hitch-hike together to Rome where Lia knows a commune they can join. Unfortunately they forgot their underwear, so no-one wants to risk picking them up.

Tina hits on the novel idea of waving her ass instead of her thumb, and soon they catch a ride from a friendly trucker. Because they're wearing no underwear he makes them ride in back, no doubt to preserve the upholstery.

Without further ado the girls arrive in Rome. They've got no money - but they're young, hot and pissed off - so they go shoplifting for food. There's no end to what these girls are capable of. With lunch taken care of, next on the agenda is cigarettes and they've hatched a cunning plan for that too ...

Tina: "A blowjob for a packet of marlboro's"
Store Owner: "Did you say 'Marlboro's?"
Tina: "I said 'Blowjob'"
Store owner: "No, thank you."

This guy must be gay.

With food, caffeine and nicotine requirements taken care of, all that's left to do is find the commune and get laid. Finding the commune is not hard as its well known to be full of queers, whores and druggies, at least according to the neighbourhood crone they ask for directions.

As soon as they arrive Tina notices a guy who's just her type, unfortunately he's in an acid stupor which explains why his t-shirt has his name and address printed on it. Forward-planning is essential for any psychedelic drug experience.

The commune owner, Nazariota is happy to let them stay except he's running low on funds so they'll have to pay rent. This is a real bummer for the ladies as they have no money, so he suggests they work for their lodging instead. There are many ways to help out at the commune, but the job best suited to them he thinks is 'communication', which is Italian for having sex with everyone. That's cool with Lia as long as the guys are clean, so the owner promises they'll wash their balls in the sink first. Wow, talk about going the extra mile.

With their accommodation sorted, Tina's mind returns to the itch between her legs and she changes into something more revealing. Wandering through the commune in search of sex she soon finds a room full of guys, and issues the ultimate rhetorical question, 'Does anyone want to screw me?". Seems the guys have been hitting the bong all day long however, and are too stoned to emerge from their torpor. Now that's some powerful anti-drug propaganda right there.




Tina wanders outside and tries her luck again with the stupefied tripping dude. Despite being in Disneyland, a kiss is not enough to wake this sleeping beauty, so she tries her hand at cardio-penile resuscitation instead. No response is forthcoming and she is frustrated yet again.

In the meantime, Nazariota has sold the women for sex to help pay the bills, which the girls eagerly agree to. Quickly they get naked and a group sex session ensues. The meditating mime dude that shares their room seems remarkably disinterested by proceedings. Unfortunately the guys are only after a quickie and are in and out before our poor girls are fulfilled. Not to worry, Lia suggests that they try each other instead. Genius.




After a few minutes of softcore caressing which stands as a visual metaphor for the hot lesbian sex we don't get to see, the girls are once again pressed into work mode. This time selling encyclopedias. Tina's sales technique includes visually demonstrating the encyclopedia's entry for 'self-gratification'.

Tina's made some good money on account of her inspired sales methods, but Lia is disillusioned with it all. Which ultimately doesn't matter, because that night the commune is raided by corrupt police and the girls are deported from the city for being potential terrorists.



At this point in the movie we've been having a sleazy good-time that's everything you'd expect from a 70's euro-trash sex comedy. Then suddenly the movie takes an abrupt turn for an unforgettable final scene which I won't spoil here, except to say its brutal, extreme and a complete departure from the rest of the film. Its totally over the top, and jaded lovers of exploitation cinema will lap it up. Needless to say, the non-jaded will likely be shocked, disgusted and sickened. You have been warned.

In summary, I can't say that the acting was anything great. The cinematography was nothing special and the soundtrack was some godawful disco-lounge shit. However, I did quite enjoy this movie. Why? Well for a start, the two lead actresses were smoking hot, and that always helps. But also because its the kind of movie that could only have come from a specific time and place, they sure don't make 'em like this any more.

Rating: 6.5/10

Video - opening sequence (Italian, no subs)

Where to buy

HKFlix