Hundra (1983) review

HUNDRA 1983

Laurene Landon (Hundra), John Ghaffari (Nepakin), Maria Casal (Tracima), Ramiro Oliveros (Pateray), Tamara (Chrysula)

Directed by Matt Cimber

The Short Version: Easily the most intriguing of the barbarian movies that came in the wake of CONAN. This feminine version has many humanistic qualities in addition to its comic book, but occasionally ultra violent content. That there's a lot more going on than a mere revenge plot is what makes this picture stand out from the pack. Although there's swords sans the sorcery, the plethora of action, the smart script and the dynamic Morricone score make HUNDRA a journey worth taking.

Chrysula: We were but few in the beginning who did not feel as the slave beings we were taught by men we should be. As our belief that we were not below them grew, so did our courage and our strength until we fought our way free of their domination to become our own masters. Out of fear and hatred for what we stood for, they pursued us relentlessly. To elude them we became nomads...and in our freedom, we found we had all that men could give us...except one thing...the seed to plant life inside us that we might bear children. Lacking that, we were driven to go among them when our bodies became fertile. In order to hold our nation safe and our beliefs pure, we gave away all male offspring. Many of our women preferred to bear arms rather than children. The champion of these was...


Hundra is the strongest fighter in her village, a nomadic tribe of Amazonian warrior women who live without the aid of men. Having contempt for the male gender, she refuses to accept the touch of a man to bear her a child. While away hunting, a savage tribe of barbarians rape and massacre everyone in her peaceful village. Hundra, along with her dog, Beast, takes off in pursuit of those who butchered her people. Paying a visit to the wise Chrysula, Hundra is informed that she must repopulate her village and take a daughter. From there, the wild female fighter seeks the right man and also hunts down the remaining barbarians responsible for the destruction of her village.


Barbarian movies enjoyed a brief stint of popularity thanks to the releases of both CONAN THE BARBARIAN and THE SWORD & THE SORCERER in 1982. Both films were big hits (the latter film was more ambitious and shot for less money). This led to the bare chested, fur wearing, sword slinging floodgates to be opened for a few years before they were quickly and mercifully closed thanks be to Crom. The Italians kept the stone-iron age alive in a string of awful entries (the ATOR series, IRONMASTER) and even Roger Corman produced a few (the DEATHSTALKER series, THE WARRIOR & THE SORCERESS) as well.


One of the most fascinating and curious of these films came in 1983. Matt Cimber, the director of THE CANDY TANGERINE MAN (1975) and THE WITCH WHO CAME FROM THE SEA (1976) journeyed to Spain to shoot this flip version of CONAN THE BARBARIAN. At its core, HUNDRA is basically the same movie as CONAN, but the script (by John Goff) goes much deeper than a mere tale of vengeance. The script was totally rewritten by Cimber and Goff to include the overt feminism that dominates much of the film. It definitely adds a lot to this little $900,000 film.


Here, chauvinism and misogyny are just as prevalent (if not more so), but feminism rules the day as Hundra represents the empowerment of women. Numerous scenes showcase her attempting to get women to stand up for themselves as individuals, but the script also allows for Hundra to relax her hatred of men and give in to the notion of love. It is in these areas that HUNDRA has a bit more going for it than the average barbarian movie most especially the inferior RED SONJA (1985). The movie begins much in the way CONAN begins. There's a brutally violent 'Pillage the Village' sequence accompanied by a robust orchestral score from maestro Morricone.


Speaking of Morricone, Cimber met the esteemed composer after striking up a friendship with Sergio Leone while in Rome when the director was working on his epic, ONCE UPON A TIME IN AMERICA (1984). Morricone scored several of Matt Cimber's movies such as BUTTERFLY and A TIME TO DIE (both 1982). As for the HUNDRA soundtrack, Morricone instantly saw the film as a comic book and employed Verdi as a source for his bombastic and occasionally riveting musical arrangements. Two years later, Morricone would seemingly pilfer his HUNDRA score for the inferior one heard in RED SONJA (1985). Morricone would receive an Honorary Academy Award in 2007 for his brilliant career in music and no doubt that was a contributing factor in Subversive including the soundtrack as an extra on a separate disc.

The producer, John Ghaffari (left) as Nepakin

Cimber's film further compliments CONAN in that the producer purchased the bulk of the costumes and some sets left over from the De Laurentiis production. The producer, John Ghaffari, also plays one of the main villains in the movie. Also, in CONAN, a symbol of two snakes facing each other was a motivational plot point for the title character. In HUNDRA, a sign of a bull serves the same purpose for the fighting female barbarian.



As for the film itself, the opening massacre immediately grabs your attention and maintains that interest during the extended chase when Hundra returns to her village. She immediately takes off after the throng of barbarians and slaughters most of them. Cimber masterfully captures the tone of John Milius's equally violent opener. The difference here is it's men versus the women. It's gory, too. Throats are slashed, stomachs are sliced open, heads are lopped off with abandon and bodies are pierced with spears. The women in Hundra's village are tough bitches and more than a match for the rampaging men. When they do go down (in spectacular fashion I might add), it's usually from being outnumbered, or attacked from behind.

Hundra (right) before applying "elegance"...

...and after

After visiting the wise elder of her now decimated village, the violence level relaxes a bit as Hundra embarks on a journey to find the right man to repopulate her tribe. The next few scenes are played for comic relief as Hundra explores the various examples of what the male species has to offer. With relatively slim pickings, Hundra makes her way to a male dominated city where she meets up with Tracima, a slave girl. In the interim, she finally meets a man worthy of her attention, but because of her savage appearance and lack of manners, he wants nothing to do with her. Tracima then teaches Hundra in the ways of being a lady and in exchange, Hundra teaches her in the ways of being a strong, self sufficient woman.

Tracima tries to teach Hundra how to eat with utensils

While some might think all this characterization bogs down the film (action dominates the first hour of the near 110 minute running time), I think it's the key to the success of the picture and the main aspect that separates it from the pack of similar movies. While it's still a quest movie, it isn't a point 'A' to point 'B' scenario. There's not a lot of filler to pad out the plot till you get to the finale. The revenge element is always there, but the main gist is that women are as strong, and in Hundra's case, stronger than men. If there's one area where Cimber's movie falters, it would be in the gory climax when Hundra confronts the remaining men who annihilated her people.


Shot almost entirely in slow motion, the big finish isn't nearly as spectacular as the opening of the movie. According to Cimber, they ran out of money and had to wrap things up quickly. Sadly, this kept the ending from being a totally satisfying finish. Still, Morricone's soaringly loud and proud opening theme helps in making the final battle somewhat engaging. Humor also aids the finish as the other women revolt and attack their captors the leader of which, is a clean freak and can't stand the touch of others. Hundra's cowardly male dog, Beast, also scrounges up some courage for a brief bit of heroism when he saves Tracima and her infant.

Euro fans will recognize both Eduardo Fajardo (white beard/no hair) and Frank Brana (white beard and hair)

Landon herself isn't totally convincing in all her dialog scenes (mostly a few emotive exchanges), but she excels in the physicality demanded of the role. In the battle scenes, she's believable and intimidating and is also funny in her comedic scenes. Whether she's being roughed up by a potential suitor, or being taught womanly ways, Landon does just fine.



Laurene Landon was one of the feistiest of the American action heroines. What made her special was that she was a bit of a daredevil and did almost all of her own stunts (including swinging around a tower 60 feet above ground without a net). In regards to HUNDRA, the only bit of stunt work she didn't do was a long fall from a tower. The gutsy starlet made a major impression while in Spain doing her own action winning the respect of the Spanish cast and crew. Life imitating art I guess you could say. Landon later was approached by both Arnold Schwarzenegger and Dino De Laurentiis to take the lead role in RED SONJA, but decided against her citing that the similarities would be too great.


Landon previously starred in the unfairly obscure Robert Aldrich movie about lady wrestling, ...ALL THE MARBLES (1981) also starring Peter Falk. Landon also had a small appearance in the drab horror comedy, FULL MOON HIGH (1981; she originally was offered the lead, but declined due to personal reasons) and also the funny AIRPLANE 2: THE SEQUEL (1982). Landon later reunited with Cimber in the lead action role for YELLOW HAIR & THE FORTRESS OF GOLD in 1984. Horror fans will recognize her from Bill Lustig's MANIAC COP (1988) and MANIAC COP 2 (1990) and Larry Cohen's IT'S ALIVE 3 (1987) among others. Landon also co-starred in another 'men versus women' movie, the bizarre AMERICA 3000 (1986) for Cannon.


Media Home Entertainment released the film to videotape in a fullscreen uncensored version in the late 80's. The now defunct Subversive Cinema released a special edition 2 disc package of this title in early 2007. The first 5,000 copies contained the soundtrack on the second disc. The score was released on both vinyl in 1984 and CD in 1997. For fans of Morricone, it's a worthy purchase whether separate, or part of this DVD package. Subversive was always generous with extras and they maintain that with this release packing this edition with a 47 minute documentary, commentary with star and director and also an all new Hundra comic book.


Arguably Landon's best remembered role, HUNDRA is one of the best films of its kind and easily the most interesting in terms of what it sets out to do. The script is much more than a simple action adventure. There's the requisite blood and gory violence, sex and nudity, but underneath it all, there's a humanistic touch lacking in virtually all the other movies of this ilk. HUNDRA is a satisfying experience for those who enjoy these kinds of movies and also for those who are interested in seeing an often times humorous and occasionally violent battle of the sexes.

This review is representative of the Subversive Cinema 2 disc set. The back of the box erroneously lists the running time as 90 minutes.

Alone In the Dark (1982) review

ALONE IN THE DARK 1982

Dwight Schultz (Dr. Dan Potter), Jack Palance (Colonel Frank Hawkes), Martin Landau (Byron "Preacher" Sutcliff), Donald Pleasence (Dr. Leo Bain), Erland van Lidth (Ronald "Fatty" Elster), Phillip Clark (John Skaggs/"The Bleeder"), Lin Shaye

Directed by Jack Sholder

There are no...crazy people, doctor, we're all just...on vacation.

The Short Version: Unjustly underrated slasher thriller from 1982 has one of the best horror movie casts ever assembled in this smart, wickedly well written picture about nutty people. One of the best horror films/siege pictures of the 1980's plain and simple.


Dr. Dan Potter and his family move into a new home after he takes a position at the Haven Asylum for the Criminally Insane, an intriguing facility in that it is run entirely on electricity for maximum protection. Replacing Doctor Harry Merton, Potter learns that several of the more dangerous inmates were particularly close to the former physician. Believing Potter to have murdered Merton, four of the crazies plot to kill Dr. Potter. A power outage results in the asylums security system being shut down and allowing all the psycho's to leave freely. Led by Colonel Hawkes, the four crazies including "Preacher", "Fatty" and "The Bleeder" escape into the night and lay siege to Potter's home trapping them inside.



One of the best slasher movies ever, period. And what a killer cast! Jack Sholder (THE HIDDEN) creates some nifty characters with just enough depth to keep them interesting, and not just the obvious roles. He also manages to pull off numerous scenes of suspense and terror with his cast of crazies. This is all the more remarkable in that none of them wear a mask of any kind (there is one brief moment involving a hockey mask a year before Jason would don one for FRIDAY THE 13TH 3-D). The notion of multiple killers with different personalities is also unique for a slasher at this time. The real coupe is the terror triumvirate that is Palance, Landau and Pleasence.



Both Palance and Landau had appeared a couple of years prior in the cheese encrusted camp classic, WITHOUT WARNING. Both pretty much play similar characters from that movie, but their acting (especially Landau who horribly hams it up in the other film) is much better here. Of the fearsome four, Hawkes actually builds some sympathy for himself in addition to being a scary son of a bitch. He obviously had great admiration and affection for his former therapist and firmly believes his replacement did in fact murder Dr. Merton. Of the others, Hawkes is also the most unpredictable. You're never really sure just what is going on behind that sinister visage of his.


Aside from the chaotic finale, both "Preacher" and the character of "Fatty", the child molester, features in the movies most harrowing scene and possibly the most famous sequence of the film. It involves a babysitter, having a sexual encounter with her boyfriend, unaware that the killers are in the house. Checking out a noise in a closet, the boyfriend is pulled under the bed. Too scared to move, a large knife begins thrusting upwards through the mattress threatening to pierce her flesh. Sholder squeezes maximum effect from this brief sequence.


Another strong scene involves Potter's youngest daughter and her encounter with "Fatty". He strikes up a conversation with the little girl and tries to get her to go upstairs with him. We, the audience, are left to wonder just when and if, the maniac will harm her.



Landau is super as the maniacal "preacher", a former holy man who enjoyed setting fire to churches while people were still inside of them. One of his best bits involves he and the others stalking a bicycle riding postman proclaiming, "The hat...I want...the hat!" After offing the mailman (in broad daylight no less), Byron gets the postman's hat and proceeds to knock on Potter's door looking for him claiming to have a telegram for him. For the "Bleeder", you never see his face until the end and the makers of VALENTINE (2001) must have seen this movie as that film featured a slasher whose nose bled during the killers murder spree.


Pleasence is amazing and memorable as the off-kilter Doctor Bain. He smokes marijuana and seems quite at home in the asylum referring to the inmates as voyagers on a journey of discovery. Bain also allows some of the less harmless inmates to have more freedom. Lin Shaye has a humorous role as a "receptionist" who greets Potter upon his arrival. He quickly surmises that she is not quite right upstairs. Schultz is also very good as the family man, Dan Potter. He tries to explain to Hawkes on several occasions that he did not kill his predecessor and that he has taken a job at another facility. Ironically enough, Schultz would later play a mad character on the popular TV show THE A TEAM.


There are an additional handful of memorable scenes in this picture. The opening scene in the diner (featuring some make up effects by Tom Savini) starts things off on the right note and numerous bits inside the asylum have an air of gallows humor about them. Once the blackout occurs, mass looting overtakes the town and the quartet of maniacs fit right in amongst the hysteria. They grab as many sharp implements as they can from a hardware store and embark on their mission to stalk and kill Potter and his family. At that point, the siege aspect of the film takes over.


The script is exceptional and the level of characterization on hand is extraordinary for this type of movie. The notion of insanity is a constant and relevant plot device throughout the entire picture. Whether it's actions by cast members both crazy and otherwise, or witty lines spoken by the characters, Jack Sholder's movie shows us just what kind of mad world we inhabit. The script also explores what scares us and how nightmares can effect our actions and emotions.


The last scene hammers this home beautifully when Hawkes enters a punk club filled with rowdy and seemingly psychotic patrons. After a woman pushes herself on him, he pulls a gun and this apparently unstable young lady begins laughing and caressing the firearm while it rests on her chin. Hawkes grins from ear to ear upon the realization he's found a new home. This goes back to a statement he made about his "trip" earlier at the asylum during his conversation with Potter, "I enjoy the social life. There are no crazy people, doctor, we're all just on vacation." With so many strong points, it's amazing that this production didn't perform well, while other, far more braindead and uninteresting pictures soared over it.



For those accustomed to typical slasher movie conventions, ALONE IN THE DARK (1982) may not be your cup of tea. There's a moderate amount of gore (a nasty throat ripping by way of a small garden rake; throat slashing; meat cleaver in the back...), but nothing close to a FRIDAY THE 13TH movie, or similar picture. What it does have, are some strikingly lunatic performances, some choice suspense and scares and a strong script. For a lot of people, that is more than enough. This 80's horror entry is an unappreciated hidden gem and highly recommended.

This review is representative of the Image special edition DVD