The Living Head (1963) review

 

THE LIVING HEAD 1963 aka LA CABEZA VIVIENTE

Ana Luisa Peluffo (Marta), Mauricio Garces (Roberto), German Robles (Professor Mueller), Abel Salazar (Inspector Toledo), Guillermo Cramer (Xiu), Antonio Raxel (Professor Urquizo), Salvador Lozano (Professor Rivas)

Directed by Chano Urueta

***WARNING! This review contains nudity***

The Short Version: Arguably the best (which isn't saying a lot) of Mexico's B/W Mummy movies even if there isn't a traditional cloth-wrapped shambler; everything else is the same, though, just the mythology has been tweaked. German Robles steps out of his vampire cloak and steps into Peter Cushing mode as one of three professors that desecrate an Aztec tomb--successfully setting the obligatory revenge in motion; slow motion, but motion nonetheless. Not as insanely goofy as THE BRAINIAC or even remotely as classy as THE CURSE OF THE CRYING WOMAN, glaring plot holes and random stupidity render THE LIVING HEAD dead from the neck up.

A trio of archaeologists uncover the ancient Aztec tomb of Acatl, a great warrior killed by a traitorous priest centuries ago. Once inside, the diggers find Acatl's decapitated head and the mummies of his high priest and priestess, Xiu and Xochiquetzal. The released pressure of the sepulcher disintegrates the beautiful priestess leaving only dust and a strange ring with an eye in the center. Ignoring the warning of the Aztecs that all desecrators will die, the scientists return home with the head of Acatl, the mummy of Xiu and the Ring of Death. It isn't long before Xiu returns to life and, commanded by the head of the Acatl, seeks revenge for the defilement.

Mexican horror movies were often a startlingly unique blend of imitation and originality. Taking their cues from the B/W Univeral horrors of the 30s and 40s, they set themselves apart with Mexican culture, folklore, and a wildly creative sense of the macabre; or, in some cases, all three together. THE LIVING HEAD falls into the latter camp. Sadly, writers Federico Curiel and Adolfo Lopez Portillo aren't entirely successful in melding this trio of elements to create something as memorably absurd as THE BRAINIAC (1961) or the perpetually gothic ambiance of THE CURSE OF THE CRYING WOMAN (1963).

Director Chano Urueta has directed some of the most wildly chaotic examples of Mexican cinema such as the aforementioned THE BRAINIAC (1961), THE WITCH'S MIRROR (1961); and several of the Blue Demon entries--notably the hilariously grotesque Lucha Sci-Spy flick BLUE DEMON AGAINST THE INFERNAL BRAINS (1968). The no-holds barred style of those films is mostly absent here. That's not to say THE LIVING HEAD is bereft of entertainment, it simply sacrifices the Ed Woodian level of assertive unreality for the sake of being taken serious... and isn't entirely successful there, either.

Unrelated to the AZTEC MUMMY series, THE LIVING HEAD links itself to them with its backdrop of Aztecan folklore. What it doesn't have are criminal organizations, masked wrestlers, or a monstrous mummy that can transform itself into bats and spiders. Not unlike its genuinely mummified antecedent from 1957, THE AZTEC MUMMY, this one is straight horror. Despite there being actual monsters in those movies, HEAD bests them because its plot is built specifically around the horror of its title character. The AZTEC MUMMY series gives you very little Mummy action--the monster relegated to what amounts to cameo appearances in his own movies.

Sharing the same writing duo from Urueta's THE BRAINIAC (1961), it's essentially the same movie (even borrowing some of its musical cues) from a narrative perspective, but reworking various plot points; as well as trading BRAIN's deliriousness for HEAD's lethargy that takes over in the second half of the movie.

Outside of some intriguing spins on Mummy myths and Aztecan lore, THE LIVING HEAD was thinking clear enough to cast a number of high profile Mexican movie stars whom were well-known in their home country. 

The one most familiar to international fans was the late, great German Robles--famous for, among other things, the classic EL VAMPIRO (1957); and several other vampire roles. Urueta's movie sees him cast in a Peter Cushing type role--akin to Cushing's professor in Hammer's THE MUMMY from 1959. Robles' Professor Mueller is given a bit more to grapple with as he not only must contend with the possible loss of his own life, but that of his daugher and son-in-law. Robles played a similar character in Urueta's THE BRAINIAC, but in a less significant part compared to Abel Salazar's title encephalon sucker. You can read our tribute article to Robles HERE.

The other male lead was popular actor Mauricio Garces. Being something of a ladies man in his movies (offscreen he was said to have been a very lonely man who was dedicated to his mother), this Mexican Clark Gable (whom he favors) will be recognizable to fans of these movies from the likes of Rene Cardona's LA LLORONA (1960); the lead protagonist in Alfonso Carona Blake's THE WORLD OF THE VAMPIRES (1961); and in a smaller capacity in the kooky cult favorite THE BRAINIAC (1961) for Urueta. As for HEAD, Garces plays both the romantic lead and the living melon, belonging to the Aztec chieftain, Acatl. 

The lovely Ana Luisa Peluffo doubles as both Xochiquetzal of ancient times, and her reincarnated form as Marta. She doesn't have a lot to do till the end; remaining in a nightgown throughout much of the movie. She only starred in a few genre pictures like THE INVISIBLE MAN IN MEXICO (1958), THE WOMAN AND THE BEAST (1959), and the Blue Demon Lucha Sci-Spy flick, PASSPORT TO DEATH (1968). 

Ms. Peluffo created quite a stir in 1955 when, in one of her first roles, became the first Mexican actress to appear nude in a movie. The film, called THE FORCE OF DESIRE, saw her playing a model who drives a wedge between two men who desire her attention; one of the men was played by frequent Mexi-horror collaborator, Abel Salazar. Peluffo stirred the pot further in her next feature, THE SEDUCTOR (1955), her first for Chano Urueta. Ms. Peluffo found herself involved in a scandal of another sort ten years later in 1965 when a journalist was found dead in her swimming pool on June 27th of that year. She nonetheless amassed over 200 credits for film and television; making her one of the most prolific actresses of her time. Her first film credit was in the Johnny Weissmuller Tarzan flick, TARZAN AND THE MERMAIDS (1948).

There's not a great deal to recommend THE LIVING HEAD, although the fleeting instances of atmosphere and flashes of gore with bloody hearts ripped from chest cavities are among the film's minimal qualities. The opening Aztec temple sequence is engaging as is the opening of the crypt that follows. The disintegration of Xochiquetzal's mummified remains is a nice in-camera effect. And yet, had Urueta's movie been more outrageous in its potential for loopiness, the inadequacies would've worked in the picture's favor. 

The possibilities for another BRAINIAC were all here--a severed head that lives; a walking corpse that carves out human hearts; an accursed ring with a glowing eyeball at its center... instead, crippling lapses in logic derail the serious tone the filmmakers wish to establish. Questions arise like...

After the first murder, why don't the police cordon off professor Mueller's house as a crime scene? After the second killing why don't the police bother to remove the gory evidence in the room with the mummy where, lying on the tray holding Acatl's severed head, sits a freshly removed heart? Why is the mummy and Acatl's noggin kept in Professor Mueller's home anyway--as opposed to a museum? What classy lady would ever want to wear a ring with an eyeball on it? 

During one attack sequence, the victim is right next to an open door. Does he escape? No. He runs over into a corner. Why doesn't the policeman instantly realize something is amiss when he finds Marta brandishing the same knife the Mummy was holding while she stands in a trance-like state in her father's room? These are some of the plentiful, perplexing plotting malfunctions littering the production. Others involve the character of Xiu, the movie's "Mummy".

After he's revived, Xiu lumbers around for a chunk of the flick, gruesomely killing the desecrators of the tomb by cutting out their hearts. Towards the end, though, Xiu becomes more spry, running and leaping around the set--diminishing his otherworldy menace. Additionally, his mission to kill the infidels is inexplicably given to other players for no discernible reason than a late-blooming plot point used as a convenient means to kill off the antagonists.

Guillermo Cramer plays Xiu, the musclebound Mummy who isn't wrapped too tightly; actually, he isn't wrapped at all. Unlike the Aztec Mummy series, this ancient shambler looks the same as the time of his death centuries earlier. In later scenes when Xiu is sleeping in his sarcophagus, you can see him breathing. Guillermo Cramer appeared in dozens of movies, including two others dealing with cranial removal; THE HEAD OF PANCHO VILLA and THE RIDER WITHOUT A HEAD (both 1957).

THE LIVING HEAD was one of the titles to have been released by CasaNegra Entertainment, a label specializing in classic Mexican cinema; all exquisitely restored to a level not normally afforded niche market fare like this. Surfacing in 2006, the company was out of business roughly a year later. Nineteen titles were reported to be under their banner, but only half of them saw release. THE LIVING HEAD, along with the superior THE WORLD OF THE VAMPIRES, were both announced, but never released. Both titles were put out by Bach Films in France. The latter title also received an Italian DVD release from Luigi Cozzi's Sinister Films as LA VENDETTA DEL VAMPIRO. HEAD, however, had its English version previous available via Something Weird video, paired with THE LIVING COFFIN (1959). Creature Feature Video put out an English subbed edition from what is presumably a Spanish language VHS (the source of this review).

HEAD's first 20-30 minutes are very good, yet Urueta is unable to maintain his assured hand for the duration. As the picture nears the finale, it takes forever to finish. Characters move around like molasses dripping from a bottle; it's as if the filmmakers realized they were coming up short on footage and simply had cast members take turns being put under trances to pad the scenes of walking from set to another. Mummy completists and Mexi-horror mavens will want to see it--and likely the best audience to get the most out of this headless horror hokum. In the end, THE LIVING HEAD isn't good enough to stand alongside Mexi-horror's best; nor is it bad enough to share a spot with it's best of the worst.

Feature running time: 01:15:00 

Sign of the Pagan (1954) review

 

SIGN OF THE PAGAN 1954

Jack Palance (Attila, the Hun), Jeff Chandler (Marcian), Ludmilla Tcherina (Princess Pulcheria), Rita Gam (Kubra), Jeff Morrow (General Paulinus), George Dolenz (Emperor Theodosius), Allison Hayes (Ildico), Leo Gordon (Bleda), Michael Ansara (Edecon), Walter Coy (Emperor Valentinian)

Directed by Douglas Sirk

The Short Version: Jack Palance seizes the screen as Attila, rampaging from one studio set to another, barely giving Jeff Chandler a chance to shine as the hero of the piece. Palance dominates every scene he's in--which is most of the picture. The script draws a ruthless, yet pitiable persona for Attila; both a man of honor and fearful of the Christian God--during the time when Christianity itself had conquered Rome. Lavish in places, the emphasis is on characterization instead of action set pieces. The historical Attila is pilfered along with the appropriate amount of creative license. Themes of paganism vs. Christianity abound in both the boisterous speeches spilling from Palance's lips and Sirk's operatic visual style. The SIGNs are everywhere.

On his way to Constantinople to deliver a message to Emperor Theodosius, Roman Centurion Marcian is captured by Attila, leader of the violent, rampaging Huns. Impressed by his courage, Attila allows Marcian to live, keeping him prisoner to learn more about the Roman ways of combat. Marcian, however, has his eyes on escaping--and he does. Finally reaching Constantinople, Marcian delivers his message from Emperor Valentinian; later discovering that Theodosius has made a secret pact with Attila to pillage all he wants, just leave Eastern Rome alone. Outraged over this deceit, and knowing full well that Attila will attack anyway, Marcian makes a secret pact of his own with General Paulinus and Princess Pulcheria to overthrow Theodosius and put the Princess on the throne. Meanwhile, Attila plans his ambitious conquering of Rome, aware of foreboding signs he will meet his downfall upon entering the city.

During the reign of the costume epics of the 1950s and early 1960s, the subject of Attila the Hun was rife for celluloid plunder. A popular figure in European folklore, operas, and novels, Sirk's dramatic adventure was the first time the legendary Hunnic ruler had been envisioned onscreen in America. Meanwhile, over in Italy, another production of the Eurasian ruler was being made by future HERCULES (1957) director, Pietro Francisci with Anthony Quinn as ATTILA (1954) and co-starring that conqueror of cleavage, Sophia Loren.

Both interpretations are of interest although Quinn is no match for Palance (nor was SIGNs popular ballerina Ludmilla Tcherina a match for Loren). Known for his over the top performances, Palance largely keeps himself in check, but remains the most memorable aspect of the movie. Palance was a stage actor prior to breaking into movies in 1950 when he racked up some impressive villain credits in films like SHANE (1953), ARROWHEAD (1953) and MAN IN THE ATTIC (1953).

Palance would likewise catch the attention of the Italians, making his way to Italy where he starred in a handful of epics for the Europeans like THE MONGOLS (1961) and SWORD OF THE CONQUEROR (1962); and also 1961s BARABBAS starring Anthony Quinn where the two Attila's would meet in the arena.

As Attila, Palance plays him as an assured man driven by a desire to not only conquer Rome, but the world itself. However, the script focuses less attention on Attila's remarkable ability to control various barbarian tribes under his command than it does his human complexities. Largely written for the screen as historical accounts describe him, the "Scourge of God" is at times seen as a sort of noble conqueror--respecting valiance in his enemies as opposed to slaughtering everything in sight; this is displayed in the very first sequence wherein he allows Marcian (Jeff Chandler) to keep his life since he shows no fear of Attila while both helpless and injured, and near the point of death.

The back-and-forth between Attila and Marcian is the humanist arc of paganism vs. Christianity that permeates the movie parallel to the supernatural one. Once the two men part ways, neither of whom desires meeting on the battlefield, Attila encounters a number of Christian followers. It's here that an intriguing turn of events transforms Attila from a man of ambition to a man of uncertainty.

His character's transformation occurs when, in the middle of an operatic speech of his intention to topple Rome, Attila thrusts his pagan blade heavenward; a lightning bolt strikes a tree nearest him, killing his seer. Believing this a sign from the Christian God, Attila gradually becomes fearful of Him. He continues his parade of destruction, but upon the sight of any Christian iconography he hesitates, his face filling with trepidation. 

At another point in the movie, he orders the death of his own men when they intend to execute two pilgrims; "Fools! These are holy men! I warned all harm not the holy men of the Christians. I have no wish to anger their God!" When the two robed men bearing golden crosses beg for Attila to spare their lives he does so. Confused, he reiterates a line that leaves his lips several times during the movie, "I do not understand these Christians"; only this time he says so with a lack of confidence in his own beliefs. But Attila is a conqueror. Ignoring the signs and repeated warnings of his Persian prophet, his convictions prevent him from disavowing his faith in war. The Sign of the Pagan isn't so much the skulls affixed to the staff carried by his horde, but the sign of its downfall in the shadow of the Christian faith. 

Despite his slow descent into self-doubt late in the picture, Attila's penchant for cruelty isn't neglected--ordering the deaths of innocents without blinking an eye. He and Marcian have some intriguing exchanges between them in regards to their beliefs and approaches to battle. The script hints that Attila's obsession with conquest grew out of his being a captive in Rome as a small boy: "The more I am feared the easier grow my conquests, and that is how your great Roman Empire was built. You conquered tribes and small nations, and bound them to you and grew great. I use only what I learned when Rome held me hostage. Held me to force my father to do your Empires bidding. I was a boy. An unconsidered trifle now grown up to conquer and command."

SIGN is rather faithful to the historical Attila, but does indulge in creative license with certain events. Since much of Attila's life is unknown; and with varying accounts from scholars, Sirk and company do a fantastic job balancing what is known with artistic interpretation.

"An enemy who remains alive is always an enemy... unless it be a woman".

If you're familiar with Attila then you know of the mystery surrounding his death. There are a few accounts of how Attila met his demise in the company of Ildico, his last wife. In the movie, Ildico is played by future 50ft WOMAN Allison Hayes in her debut. She's not in the picture all that much with only a few lines, but plays a role of major significance come the finale.

Other female cast members prove to be enemies of Attila in different ways; one of whom turns out to be his daughter, Kubra. Rita Gam plays her as a suitable savage, wild and feral; yet this ferociousness is eroded once she spends time with Chandler's more mannered Roman. During her time in Rome, she becomes accustomed to the Christian lifestyle--it appealing to her more than the nomadic pillaging she's known all her life. She falls in love with Rome, even going so far as to betray her father to save it. There's also a hint of a romance between she and Marcian, but this is one area the script never explores to any degree.

What little romance the script makes room for is reserved for Marcian and Princess Pulcheria (their historical counterparts married in 450). Dubbed by another actress, Ludmilla Tcherina, a famous French prima ballerina and woman of many talents doesn't leave much of a mark outside of giving bedroom eyes to both Chandler and Palance; and wearing gowns that threaten to reveal her ample breasts. Like with Rita Gam, there's a hint of sexual interest between the Princess and Attila. Outside of a single scene of the two together this plot point never surfaces again.

Leading man Jeff Chandler is top-billed but is unable to keep up with Jack Palance laying siege to virtually the entire movie. His character can match Attila, but in the arena of thespian skills Palance runs circles around him. Nominated for an Oscar for his role as Cochise in 1950s BROKEN ARROW, a unique western drama starring James Stewart and Debra Paget that was one of the first to portray Indians in a sympathetic light. In SIGN, Chandler was originally offered the role of Attila but turned it down, refusing to play a villain. His career was cut short though, after an off-set injury while shooting Samuel Fuller's MERRILL'S MARAUDERS (1962) in the Philippines in early 1961 led to his death from surgical complications.

Director Sirk wasn't fond of the picture; being assigned to it at the last minute after another director dropped out. Reportedly, Sirk desired to film an adaptation of the Asian Emperor Tamburlaine the Great via Christopher Marlowe's play 'Tamburlaine' but Universal refused this idea. Shooting in both cinemascope and standard format simultaneously contributed to Sirk's bad experience. Despite some striking visuals and stylish flourishes, Sirk considered SIGN his worst picture.

SIGN OF THE PAGAN looks expensive enough, but a lack of action is noticeable; particularly when we hear about campaigns as opposed to seeing them. The action sequences we do get are brief and or relegated to post-battle aftermath; even the concluding battle when Attila is ambushed is over with almost as quickly as it begins. If Palance's performance wasn't as grand as it is Sirk's movie would certainly be worth far less. 

One action sequence in particular captures the atmosphere of the Italian peplums and muscleman epics that would flex their biceps around the world a few years later. In it, Theodosius invites all the barbarian clans to a feast except for Attila. He shows up anyway, unannounced. Theodosius, in a bid to intimidate the Huns, asks if there's a man among them who could defeat Herculanus, a Roman warrior of immense strength. None wish to chance defeat till Attila stands and accepts. Easily defeating and humiliating the giant gladiator, it's a well-shot fight and is one of numerous moments where Palance usurps Chandler's top-billing status.

According to sources of the time, the picture was popular enough that Universal considered a sequel, 'Hannibal of Carthage', also to star Jack Palance, but this never materialized.

In the wake of Palance's Attila, John Wayne would star as Genghis Khan in an epic disaster titled THE CONQUEROR (1956).

Unfortunately, SIGN OF THE PAGAN has yet to receive a legitimate stateside release. It has surfaced in European countries on DVD and bluray but remains an obscurity in its country of origin. The quality is fine, but not the best looking bluray you've seen. Still, it's the best version currently out there. If you're a Sword and Sandal fan, and especially of Jack Palance, no signs are required as to whether or not you should see it.

This review is representative of the French R2 bluray/DVD combo from Elephant Films. Specs and Extras: Contains both a 2.35:1 cinemascope version and a standard format 1.33:1 version (DVD); original English language with removable French subtitles/French audio; Douglas Sirk featurette; image gallery; running time: 01:32:08