Le Bal du vaudou

Very watchable and stylish if somewhat lacking of a coherent plot. But hey, French Spanish co-production this may be but there is just a whiff of giallo about it, so be prepared for anything. At first this looks as if it is going to be a rip off of the Kubrick classic. A bunch of orange helmeted youths invade a chic dwelling and start to smash it up whilst one of their number asks the lady of the house to lead him to the bedroom. Then just as soon as we reckon we know where this is going, another of their number takes hold of hubby and without so much a lisp asks him to similarly accompany him to the same room. Stylish, as I say, some humour, a rather wasted Jean Sorel and a much over used Sue Lyon. Nevertheless the director does not miss the opportunity of alluding to another Kubrick classic with the aforementioned lass. Fun and frolics with some precise violence and a delirious ending.

There are films whose strength lies not in what they tell, nor even in how they tell it, but in the visual universe they construct to envelop us. "A Drop of Blood to Die Loving," also known as Clockwork Terror, cannot be highlighted for the finesse of its script or the precision of its dialogue-both crude, even rudimentary-but for something much more difficult to achieve: a magnetic aesthetic and absolutely extraordinary direction. Eloy de la Iglesia, with modest means but undeniable talent, manages to film a dystopian world that not only rivals that of A Clockwork Orange, but in certain shots and visual ideas could even make Kubrick's work feel a pang of jealousy.

When I was living in Mexico, at a university in Mexico City, a colloquium was organized around A Clockwork Orange. Young intellectual prudes, intoxicated by pretensions, all of them educated among poorly digested photocopies of Deleuze and Godard, gathered to dissect Kubrick's "violence" and "the aesthetics of chaos." They all congratulated each other for mentioning Schwitters or Malevich with ease, without even suspecting what connected them to Alex DeLarge. Taking advantage of the void of real thought, I proposed replacing the screening with another: A Drop of Blood to Die Loving. I presented the DVD to them as a forgotten European rarity. When it was over, several applauded, speaking of its "fascinating conceptual design" and a "mise-en-scène inherited from Resnais." They didn't realize they were watching a Spanish film by Eloy de la Iglesia, and that the alleged cult gem was known in their country as The Clockwork Mandarin.

They all analyzed it enthusiastically, without realizing that they were watching a fierce critique of people like themselves. The same complacent academics, the authoritarian system, and the alienating consumerism that Eloy de la Iglesia passionately despised. The worst part was watching them applaud the work without understanding that he was pointing the finger at them. One even said that the characters' coldness was "a metaphor for the loss of intelligence and individual thought in postmodernism." I couldn't help but smile. If de la Iglesia himself had been there, he would have run away.

The film, however, has more to offer than that anecdote. Despite its narrative weaknesses-and they are not few-it constructs a coherent, icy, and disturbing visual world. The future it portrays, a society where the individual is worth only in terms of their usefulness, dangerously resembles our fascist-like present, only without the metal uniforms.

Eloy constructs an authoritarian and surveilled society with a narrative economy that many an established director would envy. The coldness of the spaces, the geometric design of the interiors, the expressive use of color-all evoke a modern, icy, even brutalist sensibility that elevates the final result. Its sense of framing and visual rhythm recalls the best cinema of the 1970s, which wasn't afraid to let the image speak without underlining it.

The story is minimal and, honestly, very poor. The script barely articulates its ideas. The dialogue is functional, if not downright ridiculous, and the acting, for the most part, is poor and flat. However, Eloy de la Iglesia's direction is so refined, expert, and steady that it elevates the whole. The subversion of cinematic language to create its own makes it as unsettling as it is thoughtful and functionally (indeed, brutally) aesthetic. The architectural minimalism, the geometric framing, the clinical coldness of the space-all contribute to a highly effective atmosphere of suffocation. It's a film that seems designed more to be seen than to be told, more to be intuited than understood. And therein lies much of its strength.

A Drop of Blood to Die Loving is a living work, charged with visual energy, committed to its own vision of the world. And that, in a landscape full of empty imitators-since we're talking about an imitation-makes it a brave rarity.

When I picked up "Una gota de sangre para morir amando" (called "Murder in a Blue World" in English), I think that the box loosely said something about it being a Spanish "Clockwork Orange". It turns out that the movie is a total rip-off of "A Clockwork Orange" (to the point where they even mention "ACO" in a scene right before a motorcycle gang attacks). The main plot has young nurse Sue Lyon luring men to their dooms...just for the hell of it, apparently. What makes this world so blue?! Aside from the plot, the other Kubrick connection is "Lolita". There's of course the ex-nymphet Sue Lyon, but one scene even shows a person holding Vladimir Nabokov's novel! For the most part, it wouldn't be fair to compare this movie to any of Kubrick's movies. It's an OK way to pass time. The only real downside is that Sue Lyon doesn't do any full frontal nude scenes (in this sort of movie, she should have). Also starring Chris Mitchum (Robert's son).

The third De La Iglesia film I am watching in a row – and the best (though the "Cult Films" website rates this a measly *1/2) – that, while it touches on the same theme of a serial-killer on the loose, is the most ambitious (numbering no fewer than 5 scriptwriters!) because it is set in a dystopian future and employs international actors. Since I have made it a point to discard Sci-Fi titles for this year's "Halloween Challenge", I was a little wary of adding this but, thankfully, it proved a continuation of De La Iglesia's preoccupations.

The film wears its obvious inspiration from Stanley Kubrick's A CLOCKWORK ORANGE (1971) proudly on its sleeve because, not only is there a Droog-like band of violent criminals marauding at night (wielding whips at leisure), but they also assault an upper-class household that is very much decorated in the ultra-modern fashion seen in CLOCKWORK and, as if this was not enough, a screening of that very Kubrickian adaptation of the Anthony Burgess novel is about to start on TV when their doorbell rings! Likewise, a subplot revolves around an experimental program which is supposed to render hardened criminals into acceptable society members (but, predictably, the last scene demonstrates that the scheme has failed horribly), while peppering the soundtrack with classical music pieces (albeit being otherwise scored as if it were a Spaghetti Western!). Interestingly, whether deliberately or not, Kubrick returned the favor by utilizing music by the composer of this one (Georges Garvarentz) for his own swan-song EYES WIDE SHUT (1999)! Indeed, while the original Spanish title translates to the poetic A DROP OF BLOOD TO DIE LOVING and that the film was released on R2 DVD as MURDER IN A BLUE WORLD (for the record, the widescreen copy I acquired, albeit VHS quality, was fairly good and did not noticeably detract from my enjoyment of the striking visual look of the décor and costumes), the film was apparently known in the U.S. under the rather condescending moniker of CLOCKWORK TERROR.

Moreover, Sue Lyon – as it happens, the young star of Kubrick's LOLITA (1962) – has the leading role here and, at one point, is even seen leafing through Vladimir Nabokov's eponymous novel while lounging in a gay bar! The rest of the cast is made up of Christopher Mitchum (who would later appear in another foul-play-in-a-hospital movie, FACELESS {1987}) and Jean Sorel (who had already played a doctor in his most famous film, Luis Bunuel's BELLE DE JOUR {1967}: incidentally, A CLOCKWORK ORANGE itself was Bunuel's own favorite movie!). For being the younger son of Hollywood legend Robert Mitchum, Chris worked with some far-out directors: in fact, apart from De La Iglesia, he also made films for Alejandro Jodorowsky and Jess Franco! Lyon, while ostensibly renowned psychiatrist Sorel's girl, moonlights as a serial-killer of males between the ages of 17 and 25 (though her reasons for running amok are attributed to the traumatic death of the girl's parents in childhood, it is never quite clear why she targets that particular age group, one of whom she ensnares by outbidding him at an auction for the very first edition of the "Flash Gordon" comic-strip!) and, therefore, according to news reports, the murderer must be a homosexual! Conversely, Mitchum is one of the four members of the afore-mentioned "Droog"-like anarchists who falls foul of his team-mates and, to earn some cash on the side, takes to blackmailing Lyon (whom he had unwittingly spied while disposing of a body: she often affects disguises herself – as a mature woman or a man! – to lure her victims, who include a macho publicity guy modeling underwear on TV, linking the film, as do the entire lady-killing scenario and the overriding influence of TV, to the recently-viewed THE WITCH WHO CAME FROM THE SEA {1976}). Eventually, Mitchum's former friends beat him up and he is hospitalized and, ironically enough, put in Lyon's care…but, in eliminating him there, she also gives herself away – to Sorel's obvious horror.

Given my rewarding experience so far with the filmography of Eloy De La Iglesia (on a side-note, that of Alex, who is not a relation, is no less intriguing but somewhat less consistent), I opted to acquire yet one more effort i.e. his adaptation of Henry James' classic – and much-filmed – ghost story THE TURN OF THE SCREW (1985), but which I was unable to include in the "Halloween Challenge" that has just come to an end.

Passable Spanish/French co-production dealing with a gang of young people (Chris Mitchum , Antonio del Real ,David Carpenter ) with gaudy hulls and riding in a sport car , determined to wipe out the entire families , and executing panic and ravage at homes where assault , rape and mistreat inhabitants . Meanwhile , a notorious surgeon (Jean Sorel) undergoes a peculiar therapy on delinquents (Clockwork Orange similar style) and falls for a beautiful nurse called Ana Vernia (Sue Lyon ) . But things don't always go the way you expect .



This interesting story contains suspense , grisly killlings by stabbing with scalpel , noisy action-packed , motorbike racing and lots of violence , if not much continuity . Thrilling and exciting screenplay by expert Antonio Fos , Antonio Artero , Eloy De La Iglesia himself , and the traditional writer/director José Luis Garci . The film pays tribute to ¨Clockwork orange¨ (1971) by Stanley Kubrick , at the time this Kubrick film was prohibited in Spain and ¨Una gota de sangre para morir amando¨ (1973) was nicknamed the ¨Clockwork mandarine¨ . There is also a homage to ¨Lolita¨ based on novel by Navokov and played by Sue Lyon and directed by Kubrick . It results to be a surprisingly solid little film , including some action scenes very skillfully staged . Agreeable all action seventies Euro-nostalgia trip , being fast paced and rightly developed . An action filled European nail-biting flick in which the suspect protagonist, who is executing a criminal spree , falls in love for youth and there are some moving car/motorcycle pursuits along the way before the final takes a slight twist . This motorcycle chase bears remarkable resemblance to ¨Un verano para matar¨ directed by Antonio Isasi and also starred by Chris Mitchum . Successful crime thriller that follows Clockwork Orange as well as Giallo style . It's certainly violent and exciting , though the morality may be questionable , even in this time . Mid-seventies Madrid comes across as an ordinary European location and serves as an excellent backdrop for most of the action . The plot was a satisfying mix of set pieces and unexpected plot twists . A fun and romantic snapshot in time and place in which a doctor falls in love with his nurse , but problems emerge and things go awry . It stars Sue Lyon giving an average acting as the suspicious nurse whose identity is a mystery and she may not be quite what she seems , as she results to be a killer who makes love with good-looking boys . Chris Mitchum with his usual stoic acting -similarly his father Robert- pulls off a lousy performance . The picture is full of Spanish secondaries usually playing the typical co-productions of the 60s and 70s as Euro Westerns , terror , Euro-spy genre , thrillers , such as : Fernando Hilbeck , Charly Bravo , Saturno Cerra , David Carpenter , Eduardo Calvo , Fernando Sánchez Polack , Luis Gaspar , Alfredo Alba , Fabian Conde and future director Antonio del Real.

Colorful and glimmer cinematography in color-scope and Technicolor by Francisco Fraile . Even by today's standards, it would be good, provided someone cared to restore it's brightly colour , perfect editing, and natural sound . Moving and stirring musical score Georges Garvarentz in the 70s style . Well and lavishly produced by José Frade , whose name shows up on the credit titles greatest than the filmmaker himself . This sensationalistic film "Murder in a Blue World ¨ (international title) was regularly directed by Eloy De La Iglesia , being his only Sci-Fi movie and his biggest budget . The director was defending his name and career , but also his money in more ways than one , as he was one of the producers investing in the project . Most his films dealt with sex including shots of nude males , homosexuality , politics and forbidden lovers . De La Iglesia was a notorious communist militant , drug addict and homosexual , these personal characteristics were widely shown in his films . Eloy was a talented Spanish movies director , he began working in cinema in 1966 , at his 22 years old , he debuted in a kiddies production , ¨Fantasy 3¨(66) . Following a sordid melodrama ¨Algo Amargo En La Boca¨ (67) and a boxing story , ¨Cuadrilatero¨(69) . De La Iglesia realizes a lot of thrilling pictures with erotic background as ¨Techo Cristal¨(70) , ¨Nadie Oyó Gritar¨ (72) , ¨Gota Sangre Para Seguir Amando¨ (73) , and scabrous tales as ¨Juegos Amor Prohibido¨(75) , ¨Otra Alcoba¨ (76) . And concerning youthful gay : ¨Placeres Ocultos¨(76) , ¨El Sacerdote¨(78) and politicians : ¨The Deputy ¨, ¨Mujer Del Ministro¨ . Although he became notorious in the years of the Spanish transition to democracy with shocking and polemic films as ¨El Pico 1¨ and 2¨ , ¨Cólegas¨ , ¨Navajeros¨, ¨La Estanquera De Vallecas¨ (87) . All of them dealt with druggies , dope sellers , delinquency , terrorism , underworld suburban and generational problems are the habitual subjects in his films , and specially dedicated to the underworld of heroin ; as well as the gay world . Passing of time hasn't had mercy with most of those movies , but they represented a time and a way of life in the history of Spain ; and now they may seem a little bit naive . His last films were an academic rendition based on Henry James' novel : ¨The turn of the screw¨ and ¨Los Novios Búlgaros¨. This film also titled : Murder in a Blue World , or La clinique des horreurs , Clockwork Terror , or To Love, Perhaps to Die has a rating : 6/10 . This is a movie that both entertaining and enlightening . Certainly worth watching if you're in the mood for something other than typical exploitation fare.