"There's nothing they won't do ... nothing they won't dare ... and no one they won't defy! And they've made your streets a jungle!"01 October 1968Drama100 mins
A small Arizona town is plagued by violence created from the tension between Anglo and Mexican-American youths. Tony (Tom Nardini) is the idealistic new kid in school who tries to alleviate long-time tensions between the rival factions. The Mexican gang is led by Paco (Zooey Hall), a hot-tempered youth with good reason to resent some of his Caucasian counterparts due to past prejudices. Bruce (David Macklin) is the leader of the white gang. Patty McCormack and Joanna Frank are the female interests who become victims of the gang struggles. Tony, formerly from San Diego, attempts to change the attitudes of the polarized and violent groups. Simms (Russ Bender) is a bigoted educator who fans the flames of hate, and Wilson (Arthur Peterson) is the school principal who is helpless to stop the violence between the two factions.
Three identical prints of a single 100 foot fixed-camera take are shown from beginning to end-roll light-flare, with a few feet of blackness preceding/bridging/following the rolls.
A Southern soldier in the American Civil War is sent to reconnoiter the enemy positions and becomes trapped beneath a huge pile of rubble by Northern cannon fire.
The Three Kingdoms period begins as the walled fortress of Hsin Yang falls to invaders. Centered around this historical event, The Last Days of Hsin Yang follows the escape of the prince of Hsin Yang as he hides with a small family and escapes from the sacked and burning city.
Sam Moran is a Honolulu charter-boat captain who leads fishing expeditions in the tropical paradise. When his daughter is found murdered at the party of a wealthy young playboy, he seeks the truth about the murder.
A baleful limping man walks through Prague. He is Asmodeus (Juraj Herz), the fiend of lustfulness, entertaining himself by putting together by magic couples of lovers.
There's nothing like a good, opulent, gaudy musical to lift the spirits, but when it's a 1960's Hong Kong musical orchestrated by a Japanese director and composer, it breaks through the ranks as a classic of campy kitsch.