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A lonely passenger of a bus arrives in a rainy day in a remote place in Marseille; he stalks, follows and rapes the gorgeous Mélancolie 'Mellie' Mau (Marlène Jobert), who is married with a jealous husband that is a navigator of Air France and is coming back home. Mellie shoots and kills the masked rapist, but she does not call the police; she prefers to dump his body in the sea and destroy the evidences of his identity. Sooner, the mysterious Harry Dobbs (Charles Bronson) arrives in the location and meets Mellie. Harry seems to know what she has done, scaring Mellie and forcing her to tell the truth.The cult "Le Passager de la Pluie" is one of those unforgettable thrillers of my adolescence, with intelligent and witty dialogs in the duel between Mellie and the smart Harry Dobbs and one of the most beautiful music scores of the cinema history. In this movie, Charles Bronson certainly has the best performance of his successful career, and Marlène Jobert is impressively beautiful performing a very clever character. Unfortunately this film has not been released on DVD in Brazil, but at least the rare VHS has a good quality of image. My vote is eight.Title (Brazil): "O Passageiro da Chuva" ("The Passenger of the Rain")
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Known by several other titles (Mosquito der Schänder, Bloodlust: The Black Forest Vampire, Bloodlust: The Vampire of Nuremberg, Mosquito and Mosquito the Rapist), this is a dark and disturbing 1970's Eurohorror based on the macabre true story of Kuno Hofmann, the "Vampire of Nuremberg."Mondo Macabro describes this one as a "grown up fairy tale, albeit one that includes bloodsucking, eyeball evisceration and voyeuristic lesbian sex scenes among a host of other activities." That pretty much covers it!Director Marijan Vajda mainly worked in documentaries, which is a way of seeing this film. No one is named, but The Man (Werner Pochath, who was in both Ratman and Thunder 3, so he's on the Sam movie spectrum) is a deaf and mute accountant who has been abused his entire life, from a father that beat him and raped his sister in front of him to his fellow schoolmates attacking him and now, his co-workers and neighbors with treat him with scorn. Maybe it's because he's weird. Maybe it's because he's so quiet. Maybe it's because he plays with dolls.The only light in his life is The Girl (Birgit Zamulo), who dresses up all day and dances, and may be potentially just as damaged as our hero. The Mother warns her to stay away from The Man, because there's something off about him.At night, The Man tries to visit prostitutes, but he can't communicate or perform. Soon, only the dead provide him with comfort, as he starts slicing up bodies, decapitating them, stealing their eyes and even using a glass straw to drink their blood. He starts leaving a graffiti tag behind, the words M.Q. or Mosquito, and the press panics the city with news of a modern day vampire.The living are still safe until The Girl falls from the roof, in an act that we're left. to believe may or may not be suicide. Losing the only person he really loves sends The Man over the edge and into a spiral of violence after he fails to bring her back to life by feeding her his blood.This bit of Swiss weirdness isn't everyone's cup of tea. It's slow moving, but I wasn't bored. By the time The Man gets to killing, it descends into the sleazy madness hinted at by the back of the box. But it's a near-silent meditation on trying to escape abuse and man's continual inhumanity to man. It also starts with a great square up real that attempts to paint this movie as an educational experience when all it really wants to do is get you to watch the creeptastic carnage on display.I'd never heard of this before and was pleasantly surprised that it's such a sensitive -- well, as sensitive as a vampire movie with plenty of gore can be -- and well-acted film.
"Mosquito der Schänder" or "Mosquito the Rapist" or "Bloodlust" is a Swiss film from 1977 made by Marijan Vajda and Mario d'Alcala and it's a German language film. Famous director Jesús Franco is known for producing films in Switzerland during that time that were a mix of horror and sex and this is exactly it. It may not be a Franco production, but it is possibly inspired by his work. Next year, this film will have its 40th anniversary. I cannot say I am familiar with any of the actors in here, but then again, this is not an actors' film at all. It is all about the shock factor and the horror. This may be one difference to Franco, the necrophilia and horror component are bigger than his films and there is less graphic sexuality instead.The movie runs for slightly under 90 minutes and takes us into the life of a man with severe physical as well as emotional disability. And when another character, the woman of his dreams, dies, he loses it completely and goes out killing people. I must say this is nowhere near the likes of "Angst", not a masterpiece of the genre, but the film still has some solid moments and overall I would not call it a failure. Nonetheless, the story-telling is simply not great, so this film is only enjoyable when you are in search of something to shock you. That's why, all in all I give it a thumbs-down and only recommend it to lovers of then genre. Everybody else should better stay away.
Thana (not Hannah as one might mistake to hear) hasn't had a good lot in life. She doesn't have really any family or friends, she works for pittance as a clothing workshop, and can't speak as a mute. She's also very attractive, and one day walking home she's pulled into an alley and raped by a man in a mask. She staggers home, bewildered by the whole thing, but before she can get her bearings she comes upon *another* man, in her apartment before she got home, who was in the midst of theft. He instead decides to go ahead for the rape. Twice in one day? Fat chance of that - she finally takes her moment, and Thana hits the guy to the ground and then with an iron kills him.From then on the film takes its beat as something of a quandary, but a truly fascinating one: this isn't quite an exploitation flick, but it's not really a vigilante action-revenge picture like Death Wish, and yet it has hints of both. It's like Abel Ferrara and his writer St. John took the revenge element of Death Wish, of taking it to the street to rid the scum, but took it also to another level like in Polanski's Repulsion. Here Thana isn't some expert at self-defense, and shouldn't be as good as she is with the .45 she pulls off of the rapist #2. But she is good at getting her chance to kill people, and she does, even if they haven't really done anything to her (one of the more curiously ambiguous scenes is when Thana meets a guy at a bar, he keeps rambling outside about strangling his cat, she's about to shoot and it doesn't fire, he takes the gun and instead of shooting her shoots himself)True, not all of the acting Ferrara is able to gather up totally works; some of them, like two actors playing a pimp and a prostitute (even for one scene) falls flat as believable streetwise (better is Thana's boss, a creep who wants to have his way with her but hides it under a thin veneer of professionalism and care). And it may also be true that Ferrara's film paints men- hell, just most people- as jerks or losers or total dogs, and really who will miss them when they're gone? It's that part of it that makes it an exploitation flick, especially in that one sequence at night when Thana goes out and kills the most amount of people (a whole group of gang-bangers in the park, an Arab and his chauffeur in a limo, the cat strangler). And as part of tugging at the weakest of heart strings, there's a neighbor who has a little dog and (gasp) will the dog make it through the end of the film? A lot of this is pulp, but it's well directed and given a score that is fresh and cool in an early NY 80's sort of way. And when we do take it most seriously it's when looking right into Thana's face and her eyes, which start off terrified and dazed and a little in a surreal mindset (watch when she is surrounded by (over) concerned co-workers, or when she's in the bathroom and sees a hand near her breast that isn't there), and soon turns cold and bloodless. It's almost a symbolic kind of turn, hence even the name Thana which dates back to Greek mythology. This isn't someone to root for, which is what mucks up the traditional angle of a B-movie. Instead Ferrara is after something a lot deeper. Ms. 45 is action and a bit of horror (dismembered body anyone?) but it's also a sad tale of a girl without any hope, who is going crazier by the day and dresses out in black like a spider out on the prowl.It's got some bad-ass dimensions of drama, and a rather wicked climax involving slow-motion and Ms. 45 herself going in her maniac mode in a nun costume, and is mostly marred by a few sub-par supporting performances (albeit a very low-budget indie from NYC) and a few little unsatisfying scenes.
Ms.45 is a low budget flick from cult director Abel Ferrara. We are back to the seedy streets of late 1970s/early 1980s New York where lurking in every corner are rapists, muggers and assorted bad guys.Zoe Lund plays Thana, a mute seamstress in the garment district who gets raped twice in one day and slowly goes mad and goes hell bent on a revenge spree very much in the vein of Death Wish and The Exterminator.The plain looking Thana transforms to a more erotic looking vixen as she actively seeks out men to punish, hence why she is Ms .45 because of her gun.The climax of the movie is a fancy dress party where even men genuinely interested in Thana's well being are in danger as she loses all control.The version of the film I saw had been cleaned up for Blu Ray, although the grimy New York of the time only got cleaned up by subsequent Mayors of the city who realised the value of the tourist dollars.The film is rather raw, some of the acting is uneven. Zoe Lund is a marvel as the vulnerable Thana.Abel Ferrara was well known in the early 1980s for his video nasties but that label is unfair to him. He really did make the best he could with meagre resources, genre films with a feminist bent. 2b1af7f3a8