There are some films where you just know the producer hammered two random things together in the hopes that the result would be entertaining. Snakes and planes, sharks and tornadoes, Nazis and any excuse to see them brutalised. Sometimes it works, sometimes it doesn’t, and sometimes it doesn’t work on a level that just fills you with awe at the majestic beauty of how misshapen and proud the final creation is. There is no way you can convince me that the people behind “Beach Girls And The Monster” knew what they were doing, on any level, as no one could ever intentionally put together such an epic piece of ridiculousness. They just went “people like Beach Girls and Monsters… now go and write that script”.
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The Beach Girls and The Monster (1965)
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It feels good to go outside of your comfort zone, so as a straight punk-rocker I thought that it was about time I entered into a world that I’m not especially versed in and, to be honest, don’t always feel comfortable with: Rock Opera. And cause its LGBTQ+ History month, and I’ve been having the name pop up on my radar for as long as I can remember, I thought I’d give the film of the “Off-Broadway*” classic, Hedwig and the Angry Inch, a try. Written, directed, and starring the co-writer and star of the theatrical version – John Cameron Mitchell – it was a box office bomb. This was almost certainly because it was released in 2001 and is about an East German “girly boy” who’s rocking their way through late 80s and early 90s America, to stalk their now-famous ex-boyfriend. Still, if it was a big success I wouldn’t get to enthuse about it here.
Doom Patrol is finally to be available for streaming in the UK, via the Amazon Prime sub-subscription service StarzPlay. So, after raving so hard about The Pilot at launch on DCUniverse (and then watching it all again on Blu-Ray), it was time to do the season review.
It’s hard to come up with anything new and exciting to say about Gōjira (1954), because it’s such a pivotal piece of pop culture that there is very little new ground to tread. It wasn’t the world’s first Monster Movie (that goes to the equally important King Kong in 1933) or the first kaiju film (that’s The Beast from 20,000 Fathoms 1953), but it was the benchmark of the genre of that era and the go-to comparison from there on. Not only did it rake in the cash and start the longest running film franchise in history, but it managed to do so whilst working with a number of contemporary themes. Everyone knows about the allegory of nuclear war, both in the forces unleashed by Gōjira on Japan and the reasons for his rising from the depths. Director Ishirō Honda has gone on record as saying he was a walking nuclear bomb, and that the film mixed messages of a need for peace and the horrors of the weapons usage. It was trauma and catharsis for Japanese viewers, and eventually for the rest of the world.
If there’s one thing Roger Corman likes in his movies, beyond wild excitement and firm budgetary control, it’s knowing that it’s going to make money. Sometimes that means going with a hunch and betting on an outsider idea capturing, and monetizing, the zeitgeist. Sometimes, like here, it means going with what’s been proven to work and hoping that there is enough of a wave of other people’s work to ride into the black on. Or, more specifically, several somethings that have been hammered together and, hopefully, won’t show the welds too much.
Trash or Treasure 