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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.

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! 

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."