Finally: to view a complete listing of all of my
Shuker In MovieLand blog's other film reviews and articles (each one instantly
accessible via a direct clickable link), please click HERE!
As well as a zoologist, biker, media consultant, and author specialising in cryptozoology and animal mythology, I've always been a dedicated movie buff, enjoying a diverse range of cinematic genres - from monster movies, horror, animation, musicals, and sci fi, to fantasy, comedy, super-heroes, and much more. Now I'm reviewing and alerting readers to an ongoing selection of my favourite (and not-so-favourite) films here – time for Shuker In MovieLand!!
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Monday, August 31, 2020
WHAT A WHOPPER
Publicity
poster for What a Whopper (© Gilbert
Gunn/Regal Films International/Viscount Films - reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)
I can still fondly remember the first
time that I ever saw the early 1960s British comedy movie What a
Whopper. I was around 13 years old, and had been fascinated by the Loch
Ness monster ever since I first read about it as a child in a wonderful book
entitled Stranger Than People (click here
to read on my ShukerNature blog all about how this fascinating volume
greatly influenced my interests in mysteries in general and cryptozoology in
particular). The movie was shown on TV one evening in England, and I watched it
in absolute delight on our faithful old b/w television (as the movie itself was
made in b/w, I lost nothing by not watching it on a colour TV), thoroughly
engrossed and willing Nessie to appear asap. A few years later, it was reshown,
and again I watched it avidly, despite knowing the plot this time. But after
that – nothing.
Years and years went by, and never once
did What a Whopper make an appearance
in the TV schedules here in the UK, despite my scrutinizing them closely,
especially when I eventually acquired my first video recorder, meaning that I
could then tape it off the TV for my own personal rewatching as often as I
liked thereafter. I think that its absence was due to the fact that it was a
b/w movie – since the turn of this current century, b/w productions, even ones
as cinematically significant as the classic Laurel and Hardy features and
shorts, and the countless silent comedies starring the likes of Buster Keaton,
Harry Langdon, Charlie Chaplin, and Harold Lloyd, are shown on British TV far
less frequently than in the past. Happily, however, during the early 2000s, What a Whopper finally made a much-belated
but very welcome return to the small screen here, and I was ready, armed with
my newest VCR and a top-quality videocassette. Moreover, last year I treated
myself to this movie's official DVD, released in 2011, adding it to my sizeable
collection of cryptozoology-themed films.
Speaking of which: it may come as a
surprise to learn that in spite of the longstanding, global interest in Nessie,
particularly since the first major flourish of modern-day sightings occurring in
1933, only a single LNM-themed movie had been produced – Secret of the Loch, directed by Milton Rosmer and released in 1934
– prior to the release in 1961 of What a
Whopper, directed by Gilbert Gunn. Moreover, even What a Whopper is less concerned with Nessie directly than with
utilizing her celebrity to make some money by decidedly nefarious but hilarious
means. Although its leading star is none other than 1960s British heart-throb
singer Adam Faith (but who did become a well-respected full-time actor in his
own right in later years), for the most part the cast list of What a Whopper reads like a who's who of
classic British comedy stars – including Sid James, Spike Milligan, Wilfrid
Brambell, Amanda Barrie, Charles Hawtrey, Clive Dunn, Lance Percival, Terry
Scott, Molly Weir, Frank Forsyth, and Freddie Frinton, plus an appearance by
famous Scottish journalist and broadcaster Fyfe Robertson playing himself.
Another
publicity poster for What a Whopper
(© Gilbert Gunn/Regal Films International/Viscount Films - reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)
Written by screenwriter Terry Nation (who
also created the Daleks for Doctor Who),
reworking it from an original story by Jeremy Lloyd and Trevor Peacock, the
plot saw Faith as perennially-unsuccessful would-be writer Tony Blake. After
receiving yet another rejection from a publisher for his latest book,
concerning the Loch Ness monster, but in dire need of some cash to avoid being
evicted from his rented one-room flat in Chelsea, London, Tony hits upon the
idea of faking a photograph of the selfsame monster and selling it to the media
for a tidy little sum of money.
Travelling to Loch Ness with his friend
Vernon, Vernon's girlfriend Charlotte, and pretty French hitch-hiker Marie whom
they pick up along the way, Tony uses a hidden speaker to create a monstrous
roaring sound that he convinces the locals living near the loch is none other
than the cry of Nessie herself. He also attempts to create his planned phony
photo using a fake monster – only to discover to his alarm and chagrin that
several locals have come up with exactly the same idea, using their own equally
faux LNM lookalikes. And when one of the locals finds his hidden speaker, Tony
realizes that the game is not so much afoot as up – well and truly up, in fact.
Fleeing from a posse of enraged locals, Tony
and Marie jump upon a rowing boat and row rapidly from shore out across the
loch, but still facing the shore, and becoming increasingly puzzled as to why
the locals standing there suddenly stop shouting angrily at them and instead begin
gesticulating frantically to them. So when Tony and Marie then hear a loud roar
behind them, they immediately look over their shoulder – and yes, you've
guessed it, there is Nessie herself, all scaly vertical neck and grinning face,
who turns to the camera and gives an extremely louche wink before rumbling:
"What a whopper!" Wonderful! (Click here if you'd like to view
this fantastic closing scene on YouTube.)
Nessie's
long-awaited appearance in What a Whopper
(© Gilbert
Gunn/Regal Films International/Viscount Films - reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)
Having said that, my other favourite
scene from this movie sees Adam Faith's character Tony listening to the radio
with Marie when who should come on but – yes indeed – Adam Faith! Under the name Eden Charity, he is performing his new
song, 'The Time Has Come', much to the disgust of Tony, who calls him a nit
and loudly bemoans to Marie that he can't stand him! It is of course noticeable that
despite Tony's complaints, the radio just so happens to stay on long enough for Adam/Eden to sing the
whole of his song, and Tony even croons along to it, barely suppressing a smile as he does so! Indeed, in real life Adam Faith did release this song as a
single, which went on to achieve a very respectable #4 position in the UK
Singles chart during 1961, while the movie was on general release in cinemas. Click here to view on YouTube the above-described scene from What a Whopper and hear this song.
Far superior in my opinion, however, was the
eponymous theme song to What a Whopper
– which can currently be heard here on
YouTube – playing through this movie's opening scene, which depicts the beginning
of the Swinging Sixties scene in London in a somewhat saucy manner.
Incidentally, both songs were written by Laurie Johnson, a celebrated British
bandleader and prolific writer of scores for countless films and TV shows.
As I noted earlier, What a Whopper is now available on DVD, so I heartily recommend all
dedicated fans not only of vintage British comedy films but also of cryptozoological
monster movies to add this very funny 86-minute rarity to their collection.
Moreover, as it’s in Region 0 DVD format, it can be played on any DVD player
anywhere in the world.
The
official DVD of What a Whopper, which
I'm delighted to own after having sought out this movie on TV for such a long
time (© Gilbert
Gunn/Regal Films International/Viscount Films/Renown Pictures Ltd - reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)
Saturday, August 29, 2020
BORDER
Publicity
poster for Border, featuring Eva Melander as Tina (© Ali Abbasi/John Ajvide
Lindqvist/META Film/Black Spark Film & TV/Karnfilm/TriArt Film – reproduced
here on a strictly non-commercial Fair Use basis for educational and review
purposes only)
On 15 February 2020, I watched a very strange Scandinavian fantasy movie,
made in Sweden, but it was strange for all the right reasons. Entitled Border,
it was directed by Ali Abbasi, produced by META Film/Black Spark Film & TV/Karnfilm,
and released by TriArt Film in 2018. I'd wanted to see it for ages, but it only
received limited cinema screenings here in the UK despite being an Academy Award
nominee. Happily, however, I recently managed to purchase it on DVD.
Based upon an original short story entitled 'Gräns', written
by John Ajvide Lindqvist, who also wrote this movie version's screenplay, Border
tells the story of a shy Swedish customs/border guard named Tina, whose
decidedly homely physical appearance belies her remarkable gift for quite
literally sniffing out human emotions, enabling her to detect by olfactory
means if a person is feeling guilt, shame, anxiety, or other normally
concealed traits. Needless to say, this unusual talent proves very useful in
identifying incoming visitors to Sweden who are smuggling contraband or worse.
Always ill at ease with other people, Tina is only truly
at peace when alone in the forest, among Nature - until an equally strange and
homely-looking man named Vore appears on the scene, and to whom she is
instantly attracted, especially when she discovers that just like her, he bears
a mysterious scar at the base of his spine, as if something has been surgically
removed, something like a tail...? Those readers of this review who are au
fait with Scandinavian mythology and/or manbeast-related cryptozoology will no
doubt have already guessed where this plot is going. Suffice it to say that
Tina finally learns the shocking truth that although they are humanoid, she and
Vore are not human. But more shocks are to come, especially in relation both to
a very disturbing investigation that she is involved in as part of her work,
and also to her origin.
See the present
Shuker In MovieLand article's Postscript to read the story of this delightful Border-relevant
entity (© Dr Karl Shuker)
This movie at times makes for very dark, bleak, desolate,
and quite merciless but also very compelling viewing, its otherworldliness
holding my interest and attention at all times, although the penultimate scene,
when Tina finally visits the past that has been hidden from her throughout her
life, is truly heart-rending. Having read a great deal on the subject of the
entities that Tina and Vore are, I have to say that I strongly suspect that
this movie's makers took great liberties when it came to depicting certain
aspects relating to their, shall we say, procreative anatomy and behaviour, but
perhaps I am simply ill-informed here (if I am, I hope that my Scandinavian friends
and colleagues will educate me accordingly!).
Ideally, Border could benefit from being dubbed
into English, but its English subtitles more than adequately suffice,
especially as the acting prowess of its two leading stars (Eva Melander as
Tina, Eero Milonoff as Vore) is of such quiet (and occasionally not so quiet)
intensity that very often words are not required, their visual strength is
more than sufficient to tell the audience all that it needs to know. All in
all, Border is quite simply unlike any movie that I have ever seen before,
truly bewitching, often disturbing, and ineffably sad, a very unexpected
example of humanity's inhumanity to those who are different, for whatever
reason. As for anyone who hasn't seen this movie but would like to know the
true nature of Tina and Vore, let's just say that those who enjoy insulting,
demeaning, and arguing with others on social media provide a major clue, albeit
in name only - think about it...
Finally, please click here to view a trailer for Border that is currently accessible on YouTube.
And to view a complete listing of all of my
Shuker In MovieLand blog's other film reviews and articles (each one instantly
accessible via a direct clickable link), please click HERE!
Another
publicity poster for Border, featuring Eva Melander as Tina and Eero Milonoff as
Vore (© Ali Abbasi/John Ajvide Lindqvist/META Film/Black Spark Film & TV/Karnfilm/TriArt Film – reproduced here on a strictly non-commercial Fair Use
basis for educational and review purposes only)
POSTSCRIPT - CONTAINS BORDER SPOILERS!!
If you don't want to discover what Tina and Vore
were in Border, read no further!
About 13 years ago, I was walking round a
local car boot sale at the end, while all of the sellers were packing away
their unsold wares, ready to go home, when, lying amidst a forlorn pile of unsold items
discarded by various sellers, and staring up at me disconsolately, was the
delightful plush-furred, tufted-tailed, Scandinavian troll pictured in the two photographs included
above and below by me in this present Shuker In MovieLand blog review.
I knew full well that, just like all
discarded items there, his fate was to be loaded onto a lorry by one of the car
boot sale's litter pickers and then tipped onto a fire and burnt. Needless to
say, therefore, without further ado I picked him up, and found that he was
perfectly clean and intact, but unwanted by his owner and unchosen by any of
the buyers at the sale. So I duly took him back home with me. Ever since my
rescuing him from his destined fiery fate, he has sat very happily upon a pile
of postcards and CDs in my study, surveying his surroundings and clearly very
content to be here, just as I am to have been able to save him and add him to
my eclectic menagerie.
Don't you just love a happy ending!!
Rescued
from a fiery fate! (© Dr Karl Shuker)
Incidentally, there has been some discussion as to whether Tina and Vore are truly intended to be trolls or whether they are instead meant to be Hulderfolk, another humanoid race of Scandinavian folkloric beings. However, I am personally not convinced by this latter suggestion, because whereas the male hulder (known specifically as a huldrekall) is indeed homely, often to the point of being downright hideous, the female hulder (huldra) is generally extremely beautiful and exceedingly seductive, which with the best will in the world is hardly how one might describe Tina.
2ND POSTSCRIPT:
Shortly after I'd uploaded an earlier, shorter version of this review onto my Facebook page on 16 February 2020, a longstanding Facebook friend from Sweden, HÃ¥kan Lindh, who like me has a keen interest in Scandinavian folklore and folkloric entities, posted the following fascinating comment underneath my mini-review, which may well shine some much-needed light upon the very curious, ostensibly unprecedented manner of procreation exhibited by the entities as represented by Tina and Vore in Border, so I am posting his greatly-welcomed comment herewith:
"Well, you are right in that John Ajvide Lindqvist took some liberties about that compared to the folklore. I don´t know for sure, but it may be inspired by the connection with Loki in old norse sources with beings of this kind. One poem, The Song of Hyndla, states:
'A heart ate Loki,-- | in the embers it lay,
And half-cooked found he | the woman's heart;--
With child from the woman | Loki soon was,
And thence among men | came the monsters all.'
And Loki changing sex happens at least once more in the myths, so perhaps the inspiration comes from that."
Shortly after I'd uploaded an earlier, shorter version of this review onto my Facebook page on 16 February 2020, a longstanding Facebook friend from Sweden, HÃ¥kan Lindh, who like me has a keen interest in Scandinavian folklore and folkloric entities, posted the following fascinating comment underneath my mini-review, which may well shine some much-needed light upon the very curious, ostensibly unprecedented manner of procreation exhibited by the entities as represented by Tina and Vore in Border, so I am posting his greatly-welcomed comment herewith:
"Well, you are right in that John Ajvide Lindqvist took some liberties about that compared to the folklore. I don´t know for sure, but it may be inspired by the connection with Loki in old norse sources with beings of this kind. One poem, The Song of Hyndla, states:
'A heart ate Loki,-- | in the embers it lay,
And half-cooked found he | the woman's heart;--
With child from the woman | Loki soon was,
And thence among men | came the monsters all.'
And Loki changing sex happens at least once more in the myths, so perhaps the inspiration comes from that."
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