O Estranho Mundo de Zé do Caixão

"O Estranho Mundo de Zé do Caixão" is a collection of three creepy and bizarre horror tales.

"O Fabricante de Bonecas" ("The Dollmaker"): In Pirituba, Master Bastos is a respectable doll maker that lives with his four daughters in a remote area manufacturing dolls with impressive eyes. When four criminals break in his house to rob his money and rape his daughters, they learn why the doll's eyes are so realistic.

"Tara" ("Perversion"): A poor balloon seller has a crush on a young woman and stalks her. On her wedding day, the woman is stabbed in front of the church by another woman and dies. After her funeral, the man breaks in her crypt and spends the night with her to satisfy his obsession.

"Ideologia" ("Ideology"): After a debate on a TV show with the journalist Alfredo about the nonexistence of love, Professor Oaxiac Odez (José Mojica Marins) invites Alfredo and his wife Wilma to visit him. Professor Odez offers to prove to Alfredo that the instinct prevails over reason, and brings the couple to the dungeon of his house. They witness the results of the sinister experiment of Professor Odez with people that did not believe on his theory and after a period subjected to subhuman conditions, have become monstrous animals. Now Alfredo and Wilma are imprisoned and submitted to starvation and all sort of psychological torture to prove that the love is dead.

The first tale of violence, with heist and rape, is erotic and gore and has a predictable conclusion. The second tale explores an unusual theme, necrophilia without any dialog. The third one is the sickest tale, with cannibalism, torture, humiliation in an insane experiment of a deranged professor. My vote is seven.

Title (Brazil): "O Estranho Mundo de Zé do Caixão" ("The Strange World of Zé do Caixão")

Still worth seeing but maybe you better skip the first story about a doll maker being robbed, but it turns out rather awry for the robbers because they think they can rape the doll makers daughters without any consequences. But it's rather weak and you could see it coming miles away.

Part two isn't that much better but placed in the time when it was made then this must be shocking because this is about necrophilia. And we do actually see the man going for the death body. But it takes almost 20 minutes before the necrophilia comes in.

But the best is last for the third story. Here we see it all, lesbian action (nothing to see but shocking back then) and a man being pierced with needles and one drinking boiling melted metal. Towards the end the couple watching it all will pay the price. Not bad at all.

Nothing really creepy but some breasts here and there and eerie hairy armpits by the girls. Worth picking up for the last story.

Gore 2/5 Nudity 1/5 Effects 3/5 Story 2/5 Comedy 0/5

For his third film, José Mojica Marins a.k.a. Coffin Joe opted to do an omnibus style trio of horror tales, and it's a mixed bag. The title of the film is very apt, as Coffin Joe proved with his first two films that his 'world' is indeed very strange, and this film builds on that although none of the stories here follow the same plot thread as the other two and all of these tales stand alone - which is good news if you haven't seen the first two films, although you really should. Overall, this film isn't nearly as good as the earlier efforts; but it still offers a lot for the cult fan. The first tale revolves around a doll maker and a bunch of thieves who start out to rob him and end up finding out how the eyes in his dolls look so realistic (no prizes for guessing how). The second story is the weirdest and least good, and revolves around the ever-popular theme of necrophilia - and the final tale is an exploitation themed sick-fest in which the director takes the lead role. The plot revolves around his theories which relate to instinct and reason, and a journalist who is interested in seeing evidence.

Coffin Joe's directorial style is very flamboyant, and that's really what makes his films good. The themes on display have been copied often since the release of this film, and while I'm not sure if the films that went on to use the same ideas actually took influence from this one - it does have to be said that Coffin Joe's films are ahead of their time, especially considering that they hail from Brazil - a country not especially known for great films. As I mentioned, the trio of tales are a mixed bag and it comes as something of a disappointment that the first story is the best. There's a depressing tone that runs throughout the movie, and that is certainly felt in the first story - although not necessarily as much as in the others. The second story is definitely the least interesting, although the implications and atmosphere surrounding the story are well used. The third and final story will appeal most to exploitation fans, and is the most like the director's first two movies. Coffin Joe stars in this story in a role not too far removed from his trademark character. Overall, I wasn't overly impressed with this film - but the trippy and hypnotic atmosphere is a treat, and I'm sure fans of Coffin Joe will get a kick out of it.

I've always felt José Mojica Marins (aka Zé do Caixão, 'Coffin Joe') is somewhat of a pioneer in Brazilian cinema. Brazilian films tended, at the time, to be mere pornography (both hardcore and softcore), while now it tends to be too much 'engaged on social causes' rather than in the 'good entertainment' aspect of cinema (Brazilian romantic comedies are not GOOD entertainment).

'Strange World of Coffin Joe', as well as most of JMM's filmography, are an exception to those (which might be why he is often marginalized within Brazilian cinema): they are merely fun, eerie horror films entailing bizarre and creepy tales.

In here, we don't have Zé do Caixão appearing in character (unless you count the narration at the beginning). 'Strange World' is an anthology film, with three separate stories:

'O Fabricante de Bonecas' ('The Dollmaker') is about an old man, renowned for making dolls with impressively realistic eyes, and a group of burglars who try to steal his money and have their way with his beautiful daughters. It is an eerie and atmospheric horror tale, with a very predictable but fitting twist ending and full of eroticism that makes it a 'pleasant' watch.

'Tara' ('Fetish') is something that could easily pass off as an European drama: a tale of necrophilia about a man with a foot fetish who goes to a morgue after the now-dead woman he often fantasized about. It is pure depravity that is not far from a Pasolini film; to complete its 'artistic' aesthetic, it has no dialogue. The camera-work is good, but unless you want to see plot less perversion it should be avoidable.

'Ideologia' ('Ideology') is the only story JMM appears in (not as Zé, though). He plays a professor who, trying to prove that 'love' doesn't exist, imprisons a rival (who publicly argued this matter with him) and his wife and tortures them both to see how far their 'love' can endure in life-or-death situations. It has as much perversion as 'Tara', but not a meaningless one at that; the discussion is actually a very good one (done in JMM's trademark rhetoric of 'instinct vs reason') and the conclusion is good.

Overall, 2 out of the 3 stories are not only watchable but very fun and eerie tales. 'The Dollmaker' is the best horror-wise, but 'Ideology' manages to be one of the few 'torture porns' not to be mindless. The title song is also great if you understand what it's about.

For those not used to José Mojica Marins horror tales, though, his 'Coffin Joe' films are a better place to start with his filmography.

I think that in the 60's you can talk about "modern" and "old" kind of horror films.The modernity of horror films was determined by the forces acting in the movie: immanent forces that eluded arcane solutions or mysterious set designing with dark, freakish and irrational characters, were forces related to a new notion of Horror. New Horror tried to find, to create, a new idea of terror closer to the "human body", an immanent and "rational" idea of terror.In this way George A. Romero's movies, with their political suggestions, are the more revolutionary in their genre and, well, i think that Marins' movies too, in their particular, experimental way, follow and reinvent the horror cinema modern notion born in 60's. In the beginning of this amazing picture Ze Do Caixao, presenting his three stories, says: "You cannot understand the terror because you are the terror!".In this statement resides the whole picture: especially the third story, the best one, shows that what scared us are the body's extremes, the "instincts" as Ze says.This argument by Marins\Do Caixao creates a modern notion of horror: filming this Marins checks new extreme forms of the bodies, a new way to be, a way that can be easily confused with sadism or with pure bizarre gory cinematographic entertainment.But Marin's way is really more radical than this kind of simple stuffs.It's an experimental way! Even if all the three stories are led by the same argument - the new notion of terror related by the new new notion of body - only the third one is successful to get the argument in a great complete visual way.Other two stories, especially the first one, are obvious and don't suggest anything new about searching a suitable image for the matter. Anyway, a good, funny too, modern and experimental horror picture. I give 9 to the third story and I give 7 1/2 to the whole picture.