Fire commando

White Fire has so much going for it. With Larry Bird look-alike Robert Ginty leading the charge blazing away with his fabulous hair and super macho mustache, the movie soars above other low-budget actioners. The charisma he has in this makes Tom Selleck look like a putz. With Ginty beating up everyone, the movie only rises in awesomeness when a story of diamond intrigue enters into play. Then add in Fred Williamson, some frontal bush, chainsaw attacks and some awesome incest themes....this flick ends up delivering on all cylinders. If you're looking for some awesome B-Action, this is where it's at. Now, if I can just get my hands on that soundtrack.

My review was written in March 1985 after watching the movie on TWE video cassette.

"White Fire" is a crudely-mad action picture, lensed in Turkey in the summer of 1983 and bowing domestically on video cassette. With more filmmaking care, it could have had some domestic theatrical playoff on the action circuit.

Leads Robert Ginty and Belinda Mayne are cast as brother- and-sister diamond smugglers, in cahoots with crooked mines security officer Yilmaz (Gordon Mitchell). A pointless, 20-years-earlier prolog shows their parents killed by soldiers with the kids cared for by Sam (Jess Hahn), who is now a smuggling partner.

The legendary White Fire diamond (2,000 caats and emitting deadly radioactivity) is the main prize, but French filmmaker Jean-Marie Pallardy detours into absurd territroy when Mayne is killed and Ginty picks up a girl in a bar, has plastic surgery convert her into a Mayne lookalike in order to continue the inside job at the mine, but then falls in love with her (incest psychological overtones stressed). Even guest star Fred Williamson, cast as a villain bjut predictably turning into Mr. Nice Guy in the final reel, fails to save this one.

Dubbing is crude, and gore makeup is emphasize over local color.

I appreciate that 'White Fire' kicks off with a scene of action-adventure. I also appreciate that the movie has no illusions about what it is; we are informed from the very start that this is a B-movie. While I suppose one could argue for either sincere effort versus tongue-in-cheek goofiness, it seems clear to me that almost everything is crafted to be only Just Enough. In how scenes are written and in how they're executed, this belongs to a subset of genre flicks where flimsy, sometimes ham-fisted dialogue is inserted in an attempt to boost the sense of urgency about action violence that is distinctly staged. Scenes effectively convey their course of events, sure, but without any meaningful thrills, impact, or genuineness. I'm unsure which is more dubious and unconvincing - Jean-Marie Pallardy's direction, or the scene writing in a screenplay variably attributed to Pallardy himself, or to Ted Francis.

Just when we're granted a fleeting moment of enticing value, in the next instant that potential worth is undercut by one means or another. Scenes that by their content should impart great emotional weight are bereft, and forced, especially with the accompaniment of an 80s rock ballad. Blood and gore is generally simply adequate, and sometimes plainly seems a bit much - though in fairness, other practical effects including explosions look good. Nudity is only ever gratuitous - and for the ways in which it's employed in at least a couple instances, altogether questionable. Characters seem to be free of the burdens of noteworthy intelligence or feeling - or maybe that's a flaw with the acting. Perhaps I'm overly generous, yet not least of all in light of how lackadaisical and flailing Pallardy's direction is at large, I'm inclined to think the often less than credible performances can be chalked up less to a failure of the cast, and more to the filmmaker's unmistakably feeble guidance. Delivery, expressions, and basic movements and individual actions mirror the scene writing with blunt portrayal and disingenuous, unnatural pacing. This isn't to say that the acting is all bad; I feel like Belinda Mayne in particular sometimes offers up some gratifying heart when it's needed most. But, for the most part, she stands alone.

Even Jon Lord's upbeat score, broadly defined with 80s album rock sensibilities and instrumentation, tends to echo the ham-handed, "Yep, this is definitely a good take, let's move on" slant of this action-adventure romp. So it is with the camerawork, too. On the other hand, filming locations are fetching at times, and the attention for hair and wardrobe, and I admire the ambition reflected in these and the set design; one is led to think that to some degree 'White Fire' cheekily tried to mimic James Bond. And, why - okay, the scene writing is suspect, characters are lacking, and dialogue is outright hackneyed at points. However, in concept I think there are good ideas in the narrative; the pursuit of a valuable MacGuffin by diamond smugglers and various criminals holds promise, and there is still other minor cleverness in the tale that could have been teased out into bolder, more engrossing directions.

At the same time, the plot begins to fall apart in the details. It's not always clear how certain characters or extras become involved, or why the scene shifts to a particular location. There are absolutely times when the course of events just doesn't feel cohesive - including the climax, which comes and goes rather abruptly. Above all, though - wholly bizarre and worse than any of this - is male protagonist Bo's relationship with his sister Ingrid; his reactions to her and to another woman, Olga, that enters the story; and the direly unbelievable emotions that are or are not felt throughout it all. I don't wish to betray plot points here, but suffice to say that I was wholly flabbergasted by this aspect of the feature. It could have used to build a different kind of story, but not in a picture as direct as this one is.

This isn't all bad. It's passably entertaining, in its own way, and I see what the film could have been in more capable hands. Yet that's just it - Pallardy's contribution as director is more harm than help, the writing in a mess in every way, and actors mostly can't break through the constraints placed on them. And, once more for emphasis, the dynamics between Bo and Ingrid, and especially between Bo and Olga, are mind-blowing to the point of being problematic. What IS this movie?

There's no reason at all to go out of your way for 'White Fire,' but if you happen to come across it, there are worse ways to spend 100 minutes. Anyone considering a view just certainly needs to bear in mind inarguable deficiencies and indelicacies that detract significantly from the entertainment on hand.

Superbly trashy and wondrously unpretentious 80's exploitation, hooray! The pre-credits opening sequences somewhat give the false impression that we're dealing with a serious and harrowing drama, but you need not fear because barely ten minutes later we're up until our necks in nonsensical chainsaw battles, rough fist-fights, lurid dialogs and gratuitous nudity! Bo and Ingrid are two orphaned siblings with an unusually close and even slightly perverted relationship. Can you imagine playfully ripping off the towel that covers your sister's naked body and then stare at her unshaven genitals for several whole minutes? Well, Bo does that to his sister and, judging by her dubbed laughter, she doesn't mind at all. Sick, dude! Anyway, as kids they fled from Russia with their parents, but nasty soldiers brutally slaughtered mommy and daddy. A friendly smuggler took custody over them, however, and even raised and trained Bo and Ingrid into expert smugglers. When the actual plot lifts off, 20 years later, they're facing their ultimate quest as the mythical and incredibly valuable White Fire diamond is coincidentally found in a mine. Very few things in life ever made as little sense as the plot and narrative structure of "White Fire", but it sure is a lot of fun to watch. Most of the time you have no clue who's beating up who or for what cause (and I bet the actors understood even less) but whatever! The violence is magnificently grotesque and every single plot twist is pleasingly retarded. The script goes totally bonkers beyond repair when suddenly – and I won't reveal for what reason – Bo needs a replacement for Ingrid and Fred Williamson enters the scene with a big cigar in his mouth and his sleazy black fingers all over the local prostitutes. Bo's principal opponent is an Italian chick with big breasts but a hideous accent, the preposterous but catchy theme song plays at least a dozen times throughout the film, there's the obligatory "we're-falling-in-love" montage and loads of other attractions! My God, what a brilliant experience. The original French title translates itself as "Life to Survive", which is uniquely appropriate because it makes just as much sense as the rest of the movie: None!

Absolutely fantastic trash....this one has it all: nudity, good fight scenes, gore, action, explosions etc. It also stars the wonderful Belinda Mayne as Ingrid - not Olga as the other reviewer pointed out - although Olga turns into Ingrid later on in the film (you'll have to watch it to see what I mean).

I won't bother to go into the story as it's far too long winded and not very interesting. The relationship between Ingrid and her brother Bo (Robert Ginty) is interesting - watch the towel stealing scene to see what I mean.

The fight scenes were at once quite good and then spoilt by some really shoddy gore effects that looked like they were done by the team who did City of the Walking Dead (i.e. strange coloured blood gushing out of neck wounds).

I'd advise fans of low budget trash to check it out if they can track down a copy - its pretty rare though and I couldn't ever see anyone bothering to re-release it so it'll become all the rarer in a few years.

Anyway I'd recommend it solely for Belinda Mayne's great nude scenes! That lady's a fox!