Sssssss (1973) review

 

SSSSSSS 1973 aka SSSSNAKE

 

Strother Martin (Dr. Carl Stoner), Dirk Benedict (David Blake), Heather Menzies (Kristina Stoner), Richard B. Shull (Dr. Ken Daniels), Tim O'Conner (Kogen), Jack Ging (Sheriff Dale Hardison), Reb Brown (Steve Randall), Noble Craig (The Snake Man)

Directed by Bernard Kowalski

The Short Version: From the producers of JAWS (1975) and some of the award winning makeup artists from PLANET OF THE APES (1968) comes the most unusual killer snake movie that ever slithered across a movie screen. Strother Martin, in a quieter version of Dr. Frankenstein, is a mad scientist dedicated to mixing man with serpents at an isolated country house while selling off his failed experiments to a nearby carnival. It feels like a TV Movie with some added scenes of exploitation, but director Bernard Kowalski's movie does something no other snake flick did; and that's impress character into some of its cold-blooded co-stars that may make some viewers feel a little warm inside. SSSSSSS is modest SciFi-Horror, if sssssssurprisingly potent.

 

 

Dr. Stoner is a herpetologist specializing in snakes. He runs a scientific research lab out of his isolated country home, occasionally putting on small-scale shows with King Cobras with the help of his daughter. Requiring a new assistant, Stoner hires the young David Blake; who learns too late he has been an unwitting subject in Stoner's real intentions--to ensure some semblance of mankind survives a future holocaust by way of injections that will turn men into snakes.

 

 

Movies about snakes slithering amuck follow the traditional genre narrative with only slight variance. SSSSSSS is probably the first film to exclusively feature killer snakes (FROGS from 1972 had a snake attack among its array of herpe-horror), so it was a trendsetter. Additionally, its unique storyline melds various themes and ideas from other movies like FREAKS (1932) and WILLARD (1971). It's also fascinating in its genre for something else it does with its ophidian co-stars, but we'll get to that momentarily...

Director Bernard Kowalski started out in low budget horror with flicks like NIGHT OF THE BLOOD BEAST (1958) and ATTACK OF THE GIANT LEECHES (1959) before getting into bigger budgeted, more ambitious fare with KRAKATOA, EAST OF JAVA (1969), STILETTO (1969), and MACHO CALLAHAN (1970). His career as a Hollywood director didn't pan out, so Kowalski found a home helming dozens of TV movies and episodes of countless television shows. One of his few theatrical features between his newfound settlement on the small screen was the Universal SciFi-Horror, SSSSSSS (1973); the only movie whose title you don't say it, you hiss it (as per its memorable tagline).

 

 

Kowalski's work isn't often the subject of conversation, but he's certainly got some intriguing titles on his resume--in a career that began in low budget science fiction; then on to bigger budgeted, and or mainstream fare; then back down into the lower rung again, where he settled into television movies and episodic programming. SSSSSSS (1973) is the best and most fascinating of his handful of SciFi pictures. Oddly enough, it feels like a Made For TV movie; but one that's punctuated by a few shock moments and a surprisingly strong pedigree.

Produced by Richard Zanuck and David Brown (before the executive duo would perform the same function on JAWS), the production also had Oscar winning makeup artist John Chambers on board. Chambers (along with others like Tom Burman and Daniel Striepeke; the latter a writer and producer on SSSSSSS) created and headed the makeup team that made the facial and full body appliances seen in the movie.

 

 

The man-into-snake transformation was highly touted and, while it certainly is a highlight, it's mildly disappointing. Dr. Stoner wants to initiate the next stage in man's evolution; so you expect this arcane conjoining of a human with a scaly reptile to have features of both; something along the lines of the Snake Man in the underrated DREAMSCAPE (1984). Instead, Stoner's unwitting test subject is turned into a King Cobra while retaining the intelligence of man. He doesn't have time to figure out a method of escape, though, as he's immediately attacked by a mongoose in the final minutes of the movie.

 

The other main attraction is, of course, the real snakes the actors interact with on-screen. SSSSSSS (1973) shows off some imposing specimens--including some of the most venomous in the world. Some three King Cobras were imported along with an African Python (that eats a man whole!), and that frighteningly fast fangster, the Black Mamba. There's also a docile Boa Constrictor named Harry, Stoner's "obedient serpent" as he calls him.

 

Harry is one of the bright spots in this unusual movie. Probably for the only time in cinema history a snake was not only a main character, but the script by Hal Dresner (based on the story by Daniel Striepeke) does something astonishing by deriving sympathy for Harry; imbuing the snake with human characteristics. If you ever wanted to see a snake drink beer you'll see that here. If you ever wanted to see a snake listen intently while his master reads a book to him, you'll see that too. Harry figured prominently in the film's promotion as well; participating in some of the off-camera publicity photographs with the actors. As for the more lethal co-stars...

 

A Black Mamba can end your life with just two drops of its venom; or, a single bite has enough venom to wipe out 10 men. At lengths ranging from 8-14 feet long, it's the second fastest snake in the world; so running away from one probably won't save you. There's a few shots where you see the actors being bitten by the Black Mamba, too. Presumably, the Mamba is either defanged or it's a different species of snake subbing for one. Sadly, this question and others aren't asked on either of the two interviews present on the blu-ray extras. 

 

The King Cobras seen in the movie make up some of the creepiest footage you'll ever see in a film featuring snakes. The largest venomous snake in the world grows anywhere from 10 to 18ft in length and, unlike giant CGI snakes that move faster than some cars in films like ANACONDA (1996), these real reptiles slither slowly, and they're even scarier when they're not moving at all; doing a Michael Myers impersonation, staring at you from the inside of their glass tank. King Cobras can raise themselves up as high as 6 feet and, while their venom isn't as powerful as some smaller snakes, the amount of venom injected from a single bite is enough to kill 20 men.

 

Anyone reading this has likely seen popular character actor Strother Martin a multitude of times in small, if memorable roles; but fans are going to love seeing him in a rare lead role. Martin essayed dozens of quirky, demented characters over the course of his career; and as Dr. Stoner, while certainly coming off as being of sound mind and body on the outside, has darker, more deranged intentions.

 

 

What makes Strother's portrayal even better is that he reportedly was terrified of snakes. You'd never know that by the ease in which he shares the screen with them. The way he handles them in his lab makes it appear it's a second profession. The scenes with him and Harry sharing alcoholic beverages and reading a book together are both funny and genuinely touching. Likely inspired by WILLARD (1971), Harry is strictly a pet as opposed to an instrument of revenge.

 

A really good selection of Martin's character roles can be found in his GUNSMOKE (1955-1975) appearances; some of which were written by Sam Peckinpah. In every one of them he either plays a kindly, if wholeheartedly naive individual (season four's 'The Constable'); or an easily manipulated retarded man (season one's 'Cooter'; season two's 'Dooley Surrenders'); or crazed lunatics (season twenty's 'Island in the Desert' Parts 1 and 2). One of his best turns on the show would be one of the darkest of the series' B/W days (which is saying a lot) in 'No Hands'. In it, Martin plays Timble, a good, charitable woodcarver who runs afoul of the psychotic Pa Ginnis (DUKES OF HAZZARDs Denver Pyle) and his quartet of equally depraved and doting sons. This episode is one of a handful that could've been among the TWILIGHT ZONE roster.

 

Strother Martin would be a regular face in numerous westerns (including many with John Wayne) like THE WILD BUNCH (1969) and HANNIE CAULDER (1971); and other movies like HARD TIMES (1975) starring Charles Bronson; as well as dozens of television programs; one of special interest being 'The Grave', a classic horror episode from THE TWILIGHT ZONE's third season. Easily one of his most famous portrayals came in COOL HAND LUKE (1967) where he played as the villainous Captain, delivering the classic line, "What we've got here is failure to communicate".

You'd never guess it by the countless parts he played, but in his teenage years, Martin was an accomplished swimmer. Sadly, this amazing character actor would die from a heart attack on August 1st, 1980 aged 61.

 

Dirk Benedict's character is very likable, if wholly naive. His level of gullibility is staggering; even after he's come to the realization he's been Dr. Stoner's guinea pig the entire time, he still looks to the man for help. The scenes between him and Heather Menzies are more successful in developing their burgeoning relationship that we all know is going to end in tragedy. This type of movie seldom spends much time on romance, but the script balances it well against the light moments of horror and PG levels of sleaze.

 

 

Menzies is likewise saddled with a level of naivety as Dr. Stoner's daughter. She is excellent in the role of Kristina to the point you believe Menzies IS that bespectacled, shy, and virginal girl. The relationship between she and Benedict is another strong attribute of an otherwise little-discussed movie. There are two scenes involving nudity between the two lovers; but these moments have been covered in post with strategically placed fauna or household items to ensure the film's PG rating.

 

Heather Menzies played the polar opposite of the meek Kristina in PIRANHA (1978), as a spunky reporter who, along with Bradford Dillman, uncovers a military plot involving genetically altered piranha that have been unleashed into a lakeside community water supply.

 

 

Aside from Strother Martin's misguided aspirations, a more straightforward villain is played by fan favorite Reb Brown. An early role for the muscular actor, Brown was an athlete off-screen and plays one on it here as short-tempered football player Steve Randall. You can see his future acting style on display; with all the shouting and easily agitated behavior patterns largely showcased in his Italian movies like STRIKE COMMANDO (1986) and ROBOWAR (1988) a large segment of his cult following is known for. In his prime, Brown was a striking physical presence, and oftentimes roles he was given took advantage of that; whether in small parts playing antagonists, or lead roles as a Stallone or Schwarzenegger type action hero.

 

He's best known, though, for playing CAPTAIN AMERICA in two Made For TV movies in 1979. They're comparable to the WONDER WOMAN (1976-1979) television series starring Lynda Carter, but less so to the seriousness of THE INCREDIBLE HULK (1978-1982) series starring Bill Bixby. His other memorable work in movies include BIG WEDNESDAY (1978), UNCOMMON VALOR (1983), and DEATH OF A SOLDIER (1986).

 

Billed here as Nobel Craig, military vet Noble Craig lost both his legs and right arm after stepping on a land mine in Vietnam in 1969. SSSSSSS (1973) was his first movie appearance, making his debut as Tim, Dr. Stoner's previous assistant and failed experiment. Sold to a local carnival, Tim is a sideshow attraction for curious onlookers as The Snake Man. Craig later appeared in movies like POLTERGEIST 2: THE OTHER SIDE (1986) and in the finale of BRIDE OF RE-ANIMATOR (1990). Noble's life was a movie-worthy story in itself. One of many stories of Strength Through Adversity, Noble never let his war-caused handicaps inhibit his life in any way. The man also survived cancer; was an avid hunter, ran a skeet range, drove himself around, was heavy into water sports, and raised five kids. Despite losing most of his limbs, Noble Craig lived a full life. He died April 26th, 2018.

 

SSSSSSS (1973) is one of those forgotten movies that people have a fleeting recollection of seeing in the wee hours of the morning in the late 1970s. Languishing in obscurity for near two decades before surfacing on VHS in the late 90s and DVD in the early 2000s, it's more of an interesting, well-made curio than anything in the classic mold. If you've a fear of snakes you'll want to stay far away from this one. For everyone else, SSSSSSS (1973) is quite well made, and possibly the best of its kind. It only carries a moderate bite but it's well worth getting wrapped up into for 100 minutes.

This review is representative of the Scream Factory blu-ray. Specs and Extras: 1080p 1.85:1; interviews with Dirk Benedict and Heather Menzies; photo gallery; theatrical trailers; running time: 01:38:51

The Awaken Punch (1973) review

 

THE AWAKEN PUNCH 1973 aka FURY OF THE BLACK BELT

 

Henry Yu Yung (Cheung Da Gang), Susanna Au-Yueng (Jun San), Tien Feng (Mr. Wong), Nancy Siu (Cheung's Sister), Ko Hsiang Ting (Cheung's Father), Fang Yeh (White Fan), San Kwai (Black Fan), Meng Li (Brothel Madam), Kenneth Tsang Kong (Ying Ho), Feng Ko An (Mr. Chow), Li Chao (Han Chu)

 

Directed by Fong Lung Seung

 

The Short Version: One of literally hundreds of empty-hand fight flicks that proliferated in the early 1970s; and one of the better shot of that bunch. Headlining as hero is newcomer Henry Yu Yang; and as villain it's perennial bad guy Tien Feng, late of ONE-ARMED SWORDSMAN (1967) and FIST OF FURY (1972) to name two. It's quite good for its genre to the point even non-fans may find it mildly entertaining. KF fans, though, should definitely not sleep on THE AWAKEN PUNCH.

 

A crime syndicate controls a small coastal town in Hebei Province, forcing the residents to pay protection money. A young fighter named Cheung rises up to thwart the villains and becomes a hero to the people. Out of gratitude, the local business owners give Cheung money from legitimately protecting them and also from local fights. At one point, Cheung saves a young lady who falls in love with him. He has no time for romance as his father is dying back home so he hops a train back to his hometown. His father's last wish is that his son keeps their land in the family and that he gives up fighting for good. 

 

Cheung agrees; and upon doing so, a new criminal element appears in the form of Mr. Wong, an expert knife-thrower and wealthy land owner with a small army of Kung Fu fighters who oppress the people even worse than before. Wong's goons attempt to buy Cheung's family property, but he refuses to sell. Elsewhere, the lady he rescued goes to fin him and ends up kidnapped by Wong's men and forced into prostitution. The violence escalates out of control till Cheung has once more had enough. Breaking his promise to his father, Cheung's fists awaken and dole out justice to the criminals.

 

In the 1970s, Kung Fu movies were a dime a dozen. Scores of them were made every year. Mostly interchangeable, the plots had little variance. The Swordplay pictures that dominated screens before them were more complex in plot while the empty-hand versions born from their bladed brethren simplified narrative to a primal level. 

 

 

THE AWAKEN PUNCH is one of hundreds in the 'Revenge' and 'You Killed My Master' sweepstakes. There's nothing overly spectacular about it, but it's shot well and better directed than many others of this time period. It's quite good and does something relatively few others in the genre did during this era, and that's focus largely on characterization. It doesn't lack action, but the bulk of it comes in the last 40 minutes.

 

A Kung Fu movie doesn't need lots of exposition to be enjoyable, but it's definitely a bonus when a film from a much-maligned genre goes beyond the stigma of being little more than 90+ minutes of monotonous, mindless fighting. The man responsible for the script is also the director, Fong Lung Seung.

 

 

Primarily a writer, his association is mostly in the drama and thriller style of cinema. Fong's expertise in those other genres makes his sole Kung Fu movie a more satisfying viewing experience than it otherwise would have been. Among his writing credits, you'll find some Hong Kong James Bond clones like SUMMONS TO DEATH (1967) and THE ANGEL STRIKES AGAIN (1968); both produced by the Shaw Brothers. 

 

On the fighting front, fist and kick fans will be pleased with the early work of the prolific Yuen Woo Ping and Yuen Chueng Yan. The choreography is what you'd expect from empty-hand action of the early 1970s, but the brothers mix it up with some spear work during the finale. The fighting is the type of brutal Karate-style choreo that was the dominant form till trends changed in 1974; when Chinese martial arts styles like Hung Gar were showcased. From there the action design would evolve even further over the next two years. 

 

Participating in lots of bit parts prior, newcomer Henry Yu Yung is the lead. He isn't as imposing as either Bruce Lee or Chen Kuan Tai--two men who were influential on the martial arts movie in the early 1970s. THE AWAKEN PUNCH strongly resembles then recent box office smashes THE BIG BOSS (1971); and to a lesser degree, BOXER FROM SHANTUNG (1972), in how it unfolds. Regardless of his slight physique, he's a good actor whose emotions shine through; and he looks believable in the fight scenes. He never became a major star, but had a handful of important roles throughout his career.

A treat for fans of these movies, and particularly the early 70s films, is seeing future big names--whether in front of or behind the camera--in small roles. Among them is a young Jackie Chan as a thug. He has no lines, he's just there to beat up a young girl who is attempting to escape a brothel. 

 

Chan had been signed to the Great Earth Film Company in 1972 by the facility's founder, actor-turned-director Chu Mu. Fans will remember Chu as the rebel General in ALL MEN ARE BROTHERS (1973) and the main villain in HEROES TWO (1974). Chan did two movies for Chu, NOT SCARED TO DIE and POLICE WOMAN (both 1973).

 

 

Actor and director Tien Feng is the main villain here, and the film's biggest marquee name. He's the wealthy businessman who moves in and takes over the town that had previously been freed of mob ownership by the film's hero. An expert knife-thrower, he is like most other KF heavies, bringing in a small army of specialists to assist in the rampant criminal activities. Curiously, Tien isn't in the movie all that much; likely due to his appearing in over 20 other movies between 1972-1973. 

 

At Shaw Brothers, Tien essayed some of the most despicable bad guys to ever grace the Silver Screen. Some of his characters were easy candidates for the Evil Bastard Hall of Fame in such films as Pao Hsueh Li's splatter-fest OATH OF DEATH (1971) and Ho Meng Hua's  THE BLACK ENFORCER (1972). One of Tien's most jaw-dropping roles in the annals of screen villainy came in Cheng Kang's THE SWORD OF SWORDS (1968) starring Jimmy Wang Yu.

 

A frequent villain in a few dozen independent fist and kickers, Fang Yeh has more presence than Tien Feng's lead bad guy for the reasons specified above. For roughly the entire middle portion of the movie, Fang and San Kwai (as White Hat and Black Hat, respectively) have near exclusive exclusive screen time as antagonists. Some of Fang's other work is THE BLOODY FISTS (1972), CHINESE HERCULES (1973), BROKEN OATH (1973), and the cult favorite THE DRAGON LIVES AGAIN (1977).

 

Something else THE AWAKEN PUNCH does differently is its ending. Instead of the usual freeze-frame ending or a final shot of the hero walking off into the sunset, this one shows what would happen after that--to a person who had just taken the law into their own hands. It's a morality play finish that says Cheung would have been fine if only he'd heeded his father's dying wishes and went to the law like he originally was going to do. Still, the way the film plays out he would likely have ended up dead with everyone else. So the takeaway is another real life dictum, that life isn't always fair.

 

Good direction or an interest in surpassing standard material is something a lot of these movies aren't afforded; especially on the independent front. Many are only interested in cramming as many fights into 90 minutes as possible. When one of these pictures puts in extra effort with its script and visuals, you have a film that stands out; and THE AWAKEN PUNCH is one such production.

This review is representative of the Pearl River Collection: The Basher Box blu-ray. Specs and Extras: 4K transfer from35mm inter-positive, 1080p 2.35:1 for THE AWAKEN PUNCH; 4K transfer from 35mm negative, 1080p 2.35:1 for THE PRODIGAL BOXER; commentary (PB only); interviews with Michael Worth & John Kreng (PB only); original theatrical trailers for both films; running time: 01:41:04.