It’s film Jim, just not as we know it… Incubus (1966)

OK, William Shatner in a film shot entirely using Esperanto, the “international language” invented in 1887 by Polish ophthalmologist L. L. Zamenhof? Why wasn’t I told earlier??

Incubus was shot just before Bill started on Star Trek and is about as cult and curious as films get having been thought lost until rediscovery in Paris in the nineties. It was shot in this arcane language supposedly to generate additional overseas opportunities but the language is rarely spoken and certainly far less so than English. I’m guessing that the main reason was to create a strange atmosphere and, given that director, and The Outer Limits producer, Leslie Stevens forbade any dubbing, this eccentric but effective decision makes more sense.

Stevens scripted and enlisted the aid of two former Outer Limits colleagues, composer Dominic Frontiere and cinematographer Conrad Hall, later to win three Oscars for Butch Cassidy and the Sundance Kid, American Beauty, and Road to Perdition. It’s Hall’s skill that stands out the most here with some lovely compositions that really sustain the disconnected atmosphere Stevens was seeking.

 

Allyson Ames

The story is a fable about good versus evil with witches setting out to steal the souls of men for their master, Old Nick (or a close relative). The action centres around the mystical healing waters of the village well at Nomen Tuum where many come to heal but others are more concerned with cosmetic improvements (wait until the next century guys, plastic faces are everywhere).

Witches or rather succubi, prey on the more sinful visitors and we see the beautiful Kia (Allyson Ames) luring one such individual to his drowning at the start. She is tired of such easy meat though and wants to turn a truly good man to the darkness. Her older “sister” Amael (Eloise Hardt) warns against this because if the risks of love…

 

Waiting at the well for the inpure of heart

Meanwhile, a noble soldier called Marc (Shatner) is recuperating with his sister Arndis (Ann Atmar) by means of the well’s healing powers. He is selfless and almost gave his life to protect those of others, his faith is true and well, surely the perfect challenge for the restless succubus.

So it is that Kia works her wiles on Marc and as the two head off to walk in dreamy embrace the battles between their souls begins even though the soldier knows nothing. Despite their rapid bonding Marc won’t step over the line, he wants to marry Kia before any carnal expression of the love and quite right too, what’s the world coming to etc.

Kia needs to work some magic if she’s going to break his resolve and as Arndis is left blinded after a demonic eclipse, she tries to lure him away to her love and his damnation. When that doesn’t work, she and Amael conspire to summon the Incubus (a truly manic Milos, so bad they named him twice…) who proceeds to rape Marc’s sister in an attempt to goad him into violent retaliation. This is, chiefly, what incubi do, much as a male version of the demonic succubi… all as allegorical as they are mythological.

Eloise Hardt: did someone say Ingmar Bergman?

The devilish deed is done and cue Shatner fight scene with the demonic force… will he be damned by his actions or has he violated Kia with his love?

Dusty verdict: Incubus is a curious and enjoyable film without worrying the horses in terms of grand ambition and seriousness. As other shave said, it feels like an episode of The Outer Limits and inhabits a strange world all of its own, one created by direction, cinematography and music as well as the dislocation of a drama played out like a foreign film as we read the faces as much as the titles.

It is a worthy watch with some interesting performances especially Shatner – always an acquired taste but magnetic on screen – and the striking Allyson Ames creating a believable tension. Ames portrayal of the role-reversed evildoer lured by the horrors of love is especially interesting and her reactions when she enters the cathedral only to be assailed by distorted images of Christian iconography are genuinely disturbing.

Despite the performers’ best efforts apparently their pronunciation of Esperanto learned by wrote, did not impress “native” speakers but as previously noted, that’s a pretty small audience! The ones who’ll want to watch this are more interested in the strange ambition and surreal skill of Stevens.

This is a film that should be on Blu-ray with Shatner commentary, as it is it’s hard to find but available on Daily Motion here. Worth an hour or so of your time on a darkening Sunday afternoon… Don’t worry, it’s subtitled.

 

 

 

 

Primal small screen… The Horror at 37,000 Feet (1973)

Brenda Benet and Chuck Connors

Back in the seventies there were only three channels on UK TV and you pretty much had to watch what you were given. Was it a co-incidence that families watched TV more as one and that there were many successes in appealing to their common tastes? Content was targeted at this mass demographic and was designed to appeal and not challenge… With our modern array of styles and genres – yet still an amorphous mass of the similar and the same on the hundreds of available channels – it’s hard to be measured about the output of the time. A little tame, a bit tame… obvious and predictable… really? So, not as cutting edge as XFactor or Bake Off then? How we’ve changed…

Movies began being made just for TV, spearheaded by CBS and ABC in the US, who were committed to producing family fare much removed from an increasingly explicit mainstream cinema. Probably it was a more cost-effective way of exploiting the newer medium – a low-cost ad-revenue-based model.

Buddy Ebsen, Lynn Loring, France Nuyen and Paul Winfield are shocked!

So it was that films like The Horror at 37,000 Feet were unleashed on the Saturday night public with special effects strictly limited to a not too convincing model 747, moody gurgling carpets and the odd flash of light.

This may have been the first time I’ve seen this film in over forty years (yikes!) and it still projects a residual impact: Shatner’s acting, David Lowell Rich’s well-disciplined direction and what I can now see as more than just fresh-faced charm from the lovely and then ubiquitous Darleen Carr… This is a visit to my primal televisual state when that tiny curved screen in the living room opened up the World to my pre-teen eyes.

Darleen Carr

It’s impossible to view on its own terms anymore and yet you can catch admirable glimpses of fine acting – it is a strong cast - and appreciate the construction of genuine suspense aboard that generic platform for so much dramatic tension: the jet plane. Where once people of different backgrounds convened at country mansions for murder and self-realisation, then as now the venue is likely to be a Boeing jet: shakes on a plane. Shivers too.

The flight is captained by Captain Ernie Slade (chiselled Chuck Connors) a man of heroic bearing who you’d trust to ride any horse and fly any plane… he’s aided by second-in-command Jim Hawley (Russell Johnson) and navigator Frank Driscoll (H.M. Wynant).

Darleen and Buddy

Naturally, there are two pretty stewardesses, super Sally (Brenda Benet) and the lithe Margot (Miss Carr) whose short skirt and tight-fitting, leg-revealing stewardess uniform provokes that instant connection with youthful response: topped off with her regular open-featured prettiness and you have the epitome of the American TV girl of the period. It may be just me but… I remember you well Darleen.

Of course she’s also a fine actress and she’s going need to be if we’re to survive the next 73 minutes…

Jane Merrow and Roy Thinnes

Other good actors with sometimes difficult words to say include Roy Thinnes (remember The Invaders?) as devil-may-care architect, Alan O'Neill and playing his long-suffering wife, Sheila, English export Jane Merrow – she of the ace-face and doe-eyed delivery. Sheila is from old money and has allowed marital loyalty to override her inherited duty: mad Al has uprooted the remains of a druid grave and is transporting it, lock, stock and headstone to top off a new apartment he’s building – oh, how the godless rich spend their money…

Objecting to all this, in the weirdest-possible terms, is the earnest Mrs. Pinder (Tammy Grimes) a woman from Sheila’s parish who understands far more about the true significance of the remains… she makes one last plea for O’Neill to abandon his plan before promising that he will regret it… In practical terms her intervention is a little late as the relic is all packed up in the hold and they are about to take off but… you know. Mrs Pinder has brought her dog along which is odd especially given the British control on animal movement… she must be thinking of more than a short stay in America as these things take so long to sort out…

Mrs Pinder issues a grave warning...

Anyway… Mrs Pinder is in first class with a second class ticket and is encouraged back to her seat allowing Sheila and Alan to continue an ongoing spat – his infidelity, lack of empathy, regard for tradition and so on… He leaves to go find a drink in the upstairs lounge bar.

Sheila tries to distract herself with music but her headphones don’t work allowing garish ageing cowboy actor, Steve Holcomb (Will Hutchins – an ageing cowboy actor…) to try it on… he strikes out but those headphones… there’s an other-worldly noise coming through… it’s chilling, she can’t listen and pulls the phones off: it’s been a stressful few days but she ain’t seen nothing yet.

Jane Merrow

Meanwhile, Mrs P’s fellow passengers are revealed: there’s a short-haired red-head with a guitar, Manya (Lynn Loring – Mrs Thinnes as it happens) whose long-suffering alongside a smart-looking man constantly topping up his alcohol level – it’s Paul Kovalik (William Shatner in one of his greatest/worst post-Trek appearances depending on who you read… it’s way more complex than that!).

There’s kindly Doctor Enkalla (Paul Winfield) and a young girl Jodi (Mia Bendixsen) who is travelling alone – why is there always a young girl travelling alone? All part of the arcane conventions of the airplane movie…

Bill is always brilliant!

Meanwhile in the lounge… Alan meets grizzled industrialist Glenn Farlee (Buddy Ebsen – a long way from the Texas Tea) who interrupts his chatting up of model Annalik (France Nuyen) to berate his profession and question his business sense in shipping such a commercially-irrelevant object across the Atlantic.

All is now in place for the demonic dance to begin…the mysterious object in the hold gets cold and freezes Mrs Pinder’s dog in an instant, as the cold mist spreads it’s also clear that the plane simply isn’t moving… almost as if something didn’t want to be flown from England to America… The emanating evil spreads and soon the body count begins: as the passengers become more revolting is there any way out that avoids human sacrifice and their reversion to savages?!

Can anyone step forward and save the day in as dramatically efficient way as possible?

Dusty verdict:  In truth it’s hard not to enjoy this film. The story may be as thin as Gaelic mist but the cast certainly believe in it and give their all with some fine character work. Of course no harm is done by the frequent deployment of Darleen Carr’s legs in key shots but she also acts up a storm as do Jane Merrow, Chuck Connors and Tammy Grimes in particular. Bill Shatner? He does very well – yes there’s the occasional mad-eyed glint, like Kirk under alien influence, but he’s having a ball and hasn’t overlooked the fact that this stuff needs to be fun.

Jane M

For some this is the epitome of Saturday night TV movies for others it may be more dated and televisual than cinematic but that’s not for want of trying.

Well worth seeking out on DVD from Amazon and elsewhere…

This ain't Texas Tea...

Not a real plane

Darleen again

Let's take a look around the Boeing 747...

Here's the holding bay

More storage over here.

Wide aisles for passenger comfort

Exceptional all round.