ATLRetro

LADY TERMINATOR (1988); Dir: H. Tjut Djalil (aka Jalil Jackson); Starring: Barbara Anne Constable, Christopher J. Hart and Claudia Angelique Rademaker; Thurs. Nov 29, 9 p.m.; Cinefest Film Theatre; $5 (free for GSU faculty, students and staff with Panther ID); Trailer here.

By Aleck Bennett
Contributing Writer

The last Thursday of every month brings something almost unexplainable to Cinefest Film Theare…something that approaches that fine line between “good” and “bad” and blows it to kingdom come.

Science fiction author Theodore Sturgeon once postulated something that has since become commonly known as “Sturgeon’s Law”: 90 percent of everything is crap. Few take this law to its logical conclusion, though: if 10 percent of everything is great, it stands to reason that 10 percent of the crap left over is really great crap.

Ladies and gentlemen, the 1988 Indonesian epic LADY TERMINATOR is some really great crap.

It’s hard to go wrong with any movie that opens with death by hoo-hah. I mean, that’s just science fact. By presenting you with this event right up front, LADY TERMINATOR is letting you know that anything can—and likely will—happen at any time. Before the opening credits hit, we not only see what happens to those who attempt to bed the woman known as the “South Sea Queen” and not satisfy her, we find out that the one man who does succeed at the task pulls an eel out of the mysterious woman’s…area…and turns said eel into a knife. This angers the temptress, which seems reasonable. She says that she will return in 100 years to seek revenge on his great-granddaughter, and then flees into the oceans’ depths to join with the forces of evil.

Like you do.

Fast forward 100 years, and a feisty young scientist named Tania (key quote: “I’m not a lady, I’m an anthropologist!”) comes to town to research the legend of the South Sea Queen. She takes a boat out to where the Queen’s castle supposedly collapsed into the ocean (it’s nowhere near shore, but why let this story be bound by little things like geography?), dives down to see if she can find the ruins, is magically transported to a bed in the middle of nowhere and tied down by sentient scarves, and the mysterious eel from earlier takes up new residence in a new…area. She emerges from the ocean possessed by the spirit of the South Sea Queen yet acting like Arnold Schwarzenegger in THE TERMINATOR, boinks a few random jerks, and proceeds to get on with the job of seeking vengeance by pursuing that previously mentioned granddaughter (who, naturally, happens to be a pop star).

Barbara Anne Constable is LADY TERMINATOR. Studio Entertainment, 1989.

From that point onward, the film is a non-stop barrage of gunfire, vehicles exploding, sex, blood, nudity, bad pop music, sub-John Carpenter synthesizer score, atrocious dubbing, ridiculous dialogue, popped-collar Polo shirts, inexplicable decision-making, goofy romance, jewelry mix-ups, uncalled-for hotel room eye surgery…and I think that the narrator from the TALES FROM THE DARKSIDE television series shows up. We’re never exactly told why the titular Lady Terminator acts like a cyborg, nor why she can’t be killed, nor why she can shoot laser beams out of her eyes and create electrical energy with her hands. Possession is a mysterious thing. Maybe it’s got something to do with those eels. Maybe they’re electric eels.

It’s hard to give this film any kind of critical analysis or review. It escapes logical exploration. It exists in a place beyond human reasoning. It stubbornly dares you to justify itself. And while it’s true that few movies have so little reason to exist, fewer deliver on the goods the way that LADY TERMINATOR does in its own remarkably wrongheaded way. It manages to effortlessly accomplish what any number of Troma Entertainment productions go out of their way to attempt, and without any of the “hey, we’re trying to make a bad movie here!” winking that you get from Troma’s output. It may not be accomplished on any level, objectively speaking, but it’s never boring in the least. It’s fun. It’s insanely entertaining. And, really, shouldn’t that be the standard by which it’s judged?

LADY TERMINATOR is crap. But it’s really great crap.

Aleck Bennett is a writer, blogger, pug warden, pop culture enthusiast, raconteur and bon vivant from the greater Atlanta area. Visit his blog at doctorsardonicus.wordpress.com

By Dean Treadway
Contributing Blogger

GONE IN 60 SECONDS (1974); Dir: H.B. Halicki; Screenplay by H.B. Halicki; Starring H.B. Halicki, Marion Busia and Jerry Daugirda; Thurs. Aug. 25; 35 mm print; 7:30 p.m.; Cinefest at Georgia State University. Trailer here.

If you’re looking for the greatest car chase movie in history, Georgia State University’s cracking theater Cinefest has got it, and will serve it up on glorious 35mm for a one-time-only showing at 7:30 p.m. on Thursday, August 25. Now we’re not talkin’ THE FAST AND THE FURIOUS or BULLITT, neither THE ITALIAN JOB or THE SEVEN-UPS. And it’s not the crappy Nicholas Cage remake that bears this movie’s title. It’s H.B. Halicki’s 1974 drive-in masterpiece GONE IN 60 SECONDS. It is a smashing movie.

The title refers to the time it takes for this movie’s thieving crew to get into and steal someone’s ride. Their task here is to steal 48 cars of varying makes and deliver them to a South American buyer in a short amount of time. That’s nearly all you need to know about the plot. Character and dialogue run a distant second to action in GONE IN 60 SECONDS and that’s the way it should be. Somehow, the Jerry Bruckheimer-produced remake from 2000 screwed this simplicity up, giving away precious car chase time for a ridiculous, boring family-revenge plot involving Cage and his brother, played by Giovanni Ribisi. (Why, I ask? Why?)

One of many high-speed car chases in GONE IN 60 SECONDS, Copyright H.B. Halicki Mercantile Co., 1974.

The original GONE IN 60 SECONDS does contain some family strife plot elements, yes, but it’s more concerned with seeing how Halicki—who plays lead stunt driver AND lead car thief Maindrian Pace—plots to nab the final and most coveted buggy of all: a 1973 orange Ford Mustang Mach I code-named “Eleanor.” This effort serves as the backbone for the film’s centerpiece: a nail-biting, 50-minute car holocaust that was often staged on the real highways of California with barely a notice given to police, onlookers, and uninvolved fellow drivers (there’s one smash-up involving Eleanor and a light pole that was really an accident—one so hairy that the production had to be shut down while Halicki healed up).

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Monday July 25

From 3 PM on, savor tropical sounds and libations, as well as a Polynesian dinner during Mai Tai Monday at Smith’s Olde Bar. Kingsized and Tongo Hiti lead singer Big Mike Geier is Monday night’s celebrity bartender at Sister Louisa’s Church of the Living Room and Ping Pong Parlor. Northside Tavern hosts its weekly Blues Jam.

Tuesday July 26

What’s in a name? Catchy coolness if you’re self-styled D.I.Y. rock ‘n’ roll band Swank Sinatra, playing tonight at Smith’s Olde Bar. Although their sound, fury and lyrics are inspired by Frank than “homeless people, pirates, ladies, shoes, ships, our hate of disco and breakfast.” Minor Stars and Kevin Dunbar Band open. Grab your horn and head to Twain’s in Decatur for a Joe Gransden jazz jam session starting at 9 PM. JT Speed plays the blues at Fat Matt’s Rib Shack. Notorious DJ Romeo Cologne spins the best ‘70s funk and disco at 10 High in Virginia-Highland. Catch Tues. Retro in the Metro nights at Midtown’s Deadwood Saloon, featuring video mixes of ’80s, ’90s, and 2Ks hits.

Wednesday  July 27

The Temptations and The Four Tops make it a mini-Motown reunion at Classic Chastain tonight. Get ready to rumba, cha-cha and jitterbug at the weekly Swing Night at Graveyard Tavern. Deacon Brandon Reeves bring the blues to Fat Matt’s Rib Shack and Danny “Mudcat” Dudeck blues it down at Northside Tavernrespectively. Dance to ‘70s, ‘80s and ‘90s hits during Retro in the Metro Wednesdayspresented by Godiva Vodka, at Pub 71 in Brookhaven.

Thursday  July 28

It’s a cinematic night of pure (& twisted) imagination for the whole family as The Atlanta Opera screens classic 1971 movie WILLY WONKA AND THE CHOCOLATE FACTORY starring Gene Wilder at The Atlanta Opera Center (1575 Northside Drive, NW, Bldg 300, Suite 350, Atlanta, GA 30318). Attendees may win two (golden?) tickets to the company’s production of THE GOLDEN TICKET, also based on the Roald Dahl novel, in March, 2012.

Henry Porter, named after a legendary Dylan quote, bring their Western swing on DMT to Kathmandu Restaurant & Grill in Clarkston. Or is that post-rock mindset with 70’s AOR hooks? Or songs that Iggy Pop might could sing? Or the Eagles with credibility? Or CCR meets XTC? Heck if they even know for sure, but you can find out for free and eat some tasty Asian vittles at the same time.

Classic Tulsa Sound piano man Leon Russell opens for legendary folk rocker Bob Dylan at Chastain Park Amphitheatre. Go Retro-Polynesian to Tongo Hiti’s luxurious live lounge sounds, as well as some trippy takes on iconic pop songs, just about every Thursday night at Trader Vic’s. Party ‘70s style with DJ Romeo Cologne at Aurum Lounge. Breeze King and Chickenshack bring on the blues respectively at Northside Tavern and Fat Matt’s Rib Shack.Bluegrass Thursday at Red Light Cafe features The Burning Angels.

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Friday, July 22

Dig out the glitter bodysuit and platform heels and get yourself down to The Masquerade for Gilded Trash, a glam rock theme party to be remembered featuring live music from The Sexual Side Effects, The Unsatisfied and Starbolt 9; classic hits from T. Rex & Bowie to Iggy & Eno; burlesque by The Chameleon Queen; the scandalous banter of Dax Exclamationpoint!; foot-pounding grooves by Glitterdome‘s DJ Tiny Tears; body-painting; gilded go-go dancers, glam-inspired art by Chris Buxbaum; glam-orous vendors; and much more. Get a sneak preview from Kool Kat of the Week Amber Taylor, show mastermind and vocalist/guitarist for The Sexual Side Effects here.

The Stumblers make it a rockabilly/Southern roots night in The Basement at Graveyard Tavern in East Atlanta. Read ATLRetro’s Extra Kool Kat of the Week interview with lead singer/rhythm guitarist Keith Martin here. Eighties multi-platinum heavy metal band Dokken rocks Wild Bill’s in Duluth. Country chanteuse Emmylou Harris plays Concerts in the Garden at the Atlanta Botanical Garden. Rod Hamdallah is at Fat Matt’s. Callanwolde‘s popular Tango Night is back including introductory lessons in the sexy Argentine version from Tango Rio‘s expert instructors at 8 p.m., followed by an open tango dance party at 9:15 p.m. Catch an IMAX movie and dance to soulful jazz standards performed by The Kayla Taylor Quartet at Fernbank Museum of Natural History’s Martinis and IMAX. And last but not least, the wacky cast of Cineprov! bait and tackle Humanoids of the Deep, a sensationally schlocky 1980 horror flick about half-man/half-fish mutations starring then-hottie Doug McClure, at 8 p.m. at Relapse Theatre. Free admission if you wear a bathing suit!

Last but not least, a high school ritual gets an undead makeover in a ‘50s setting in ZOMBIE PROM, this weekend only at Fabrefaction Theatre. The girl-loves-ghoul rock ‘n’ roll off-Broadway musical is fun for the entire family and performed by actual high school students as the culmination of a two-week theatre education program. The opening night show is at 8 p.m., and additional performances are at 2 p.m. and 8 p.m. on Sat. and 3 p.m. on Sun.

Saturday July 23

What’s that, Artie? A steampunk theme night with a Wild West twist? That’s the wild, wild premise behind The Artifice Club‘s Weird West Saloon, at The Solarium in Oakhurst. The frontier-inspired festivities begin at 5 p.m. with a Trading Post Market, with doors opening officially at 7 p.m. and entertainment lasting to midnight culiminating in an after-party at McGowan’s Oakhurst Pub. There will be gambling and a quick draw tournament to benefit the Dream Power Therapeutic Equestrian Center, and featured acts included Blair Crimmins and the Hookers (read an ATLRetro interview with Blair about this ’20s-ragtime-inspired band here), DJs Swivel and Doctor Q, emcee and sheriff comedienne Sabrina Pandora and a bevy of burlesque beauties…er sexy saloon dancing girls including, Fonda Lingue, Ruby Redmayne, Tupelo Honey and Talloolah Love, who treats you lucky ATLRetro readers to an exclusive preview here.

Americana classic Dex Romweber and sister Sara throw a party mix of originals and obscure nuggets from rock n roll’s dusty closets at the Star Bar for the release of the Dex Romweber Duo‘s latest album, IS THAT YOU IN THE BLUE. It only gets better with local rockabilly faves The Blacktop Rockets, classic rock-inspired The Booze and Chattanooga-based garage rock band The Bohannons also on the bill.

Meanwhile over at the Plaza, Blast-Off Burlesque are throwing a BEACH PARTY tonight for their third Taboo La-La sin-sational film series. Much more than a rare chance to see the classic 1963 frolic with Frankie Avalon and Annette Funicello in 35mm on the big-screen, there’s a zany and sexy preshow featuring special guests Grinder Nova and The Chameleon Queen as the float-tastic Alotta Wood, as well as a Twist-Off Contest, a Hula Hoop Contest, and Twister games and beach party-inspired cupcakes from Atlanta’s own The Sugar Dolls, who were kind enough to serve up a tasty sneak preview of the treats they’ll be bringing here.

Eighties hit makers Huey Lewis and the News try to take you Back in Time to when it was Hip to Be Square at Classic Chastain. Capitol City Opera players sing Broadway standards in ON THE LIGHT SIDE, a themed night of lighter music that has become a 20-year tradition at the vintage Callanwolde mansion. The Reverb-O-Rockets deliver Chicago style-blues “straight, no chaser” at Fat Matt’s Rib Shack. And of course, DJ Romeo Cologne transforms the sensationally seedy Clermont Loungeinto a ’70s disco/funk inferno late into the wee hours.

Sunday July 24

Alick Gerard & the Dixie LTD play blues “dunch” between 1 and 4 PM at The Earl. Learn Beginning Vintage Hair Styling from award winning pin-up girl D’lilah D’lite from 1 to 3 p.m. at SpinARella Pole/Dance/Fitness. The class is part of the Syrens of the South‘s ABCs & 123s of Burlesque Class Series. GET DELICIOUS AGAIN at 8 p.m. at the Plaza Theatre as Jim Stacy (Palookaville, Starlight Drive-In, AM Gold, Greasepaint, etc.)  samples Atlanta’s Asian eateries in the latest installment of his unconventional culinary series serving up Atlanta’s Hidden Restaurant Treasures. If you can’t make thisFREE screening with special foodie guests, tune in or set your DVR to PBA 30 also at 8 p.m. Nature is Dangerous and It will Hurt You: A Benefit for Jessica Miller features some a great line-up of local blues and rockabilly bands, beer specials, Fat Matt‘s BBQ, raffle prizes and more from 2:30 p.m. to late at Blind Willie’s, including Bill Sheffield, Rocksploitation, Nat King Coal Miners, Bob Page and Co., The Shadows, Rod Hamdallah, Joe McGuiness Trio, The Electromatics, and The Stooge Brothers. Blair Crimmins and the Hookers headline Unplugged in the Park at the Park Tavern.

Ongoing

The latest revival of Tony Award-winning musical FIDDLER ON THE ROOF is at The Fabulous Fox through Sunday June 24.

VIDAL SASSOON: THE MOVIE not only chronicles the life of the rock star hairdresser/artist but also features lots of ’60s/’70s fashions and hair styles. Playing through Sun. July 31 at Cinefest.

At the High, RADCLIFFE BAILEY: MEMORY AS MEDICINE, the most comprehensive exhibition of the Atlanta artist’s works to date, opened last Sunday June 26 and runsthrough Sept. 11. Read more about the artist and this powerful exhibition that in last week’s Kool Kat. JOHN MARIN’S WATERCOLORS: A MEDIUM FOR MODERNISM, a companion exhibit also at the High this summer through Sept. 11, surveys the work of the man named America’s number one artist in a 1948 LOOK magazine survey. While his name is not a household one today, this exhibition reminds us of his important place in the modernist movement and why watercolors became such a powerful instrument for avante-garde art in the hands of him and other artists in the Stieglitz Circle,including Georgia O’Keefe.

MODERN BY DESIGN, the High‘s other Retro exhibition, celebrates three key moments in modern design and also the Museum of Modern Art, New York‘s (MOMA) collection history. The works on loan from MOMA cover “Machine Art” (1934), “Good Design” (1950-55) and “Italy: The New Domestic Landscape” (1972), with the latter addressing modernism in the context of 1960s and ’70s counterculture.

The Museum of Design Atlanta (MODA)‘s newest exhibit WaterDream: The Evolution of Bathroom Design, runs through Sept. 24 in the dynamic new Midtown space. Displays take visitors through a four-part journey into the bathroom from the birth of minimalist aesthetics in 20th century design to current concepts.

Get a rare chance to view original manuscript pages from the last four chapters of ATLANTA’S BOOK: THE LOST GONE WITH THE WIND MANUSCRIPTat the Atlanta History Center. The new exhibit, which opens today and runs through Sept. 5, is part of a series of activities celebrating the 75th anniversary of the publication of the international bestseller and also includes foreign and first edition copies, the desk Margaret Mitchell used while writing it and select images.

Tune back in on Friday for Weekend Update. If you know of a cool happening that we’ve missed, send suggestions to ATLRetro@gmail.com

By Dean Treadway
Contributing Blogger

SHAMPOO (1975); Dir: Hal Ashby; Screenplay by Robert Towne and Warren Beatty; Starring Warren Beatty, Julie Christie, Lee Grant, Jack Warden, Goldie Hawn, Carrie Fisher; Thurs. July 21; Newly restored 35 mm print; 7:30 p.m.; Cinefest at Georgia State University. Trailer here.

Released in 1975, Hal Ashby’s SHAMPOO very well may rank as the great director’s most cynical film. Ashby had previously given us THE LANDLORD, HAROLD AND MAUDE and THE LAST DETAIL, and would go on to deliver BOUND FOR GLORY, COMING HOME and BEING THERE before beginning a cocaine-fueled downward 1980s slump that would end in his untimely death in 1988 at age 59. It’s been years since I’ve revisited SHAMPOO because it strikes me as a truthful, mildly funny but ugly movie. It’s hard to watch, but extremely worthwhile. I know I’ll be at Cinefest on Thursday, July 21 at 7:30 pm to check out what is probably the first 35mm screening of Ashby’s film since the old days of the Rhodes and the Silver Screen, two long-gone Atlanta repertory theaters that closed their doors in the mid-1980s. We’re lucky to have a venue like Cinefest, which seems to be cultivating a desire to expand Atlanta’s repertory movie options these days.

Star Warren Beatty also acted as producer and co-writer, along with CHINATOWN and LAST DETAIL scribe Robert Towne. As such, he labored for almost a decade to get the film made. When it finally reached screens, it arrived like a bombshell designed to blow apart the sexually revolutionary Me Decade and everything connected to it. Set in 1968, on the eve of Richard Nixon’s election to the White House (which held particular resonance to 1975 viewers, who were still reeling from the Watergate debacle that drummed Nixon out of office), SHAMPOO tells the story of a philandering self-obsessed hairdresser named George Roundy (Beatty). The beautifier and sexual partner of choice for many of his clients, George is sick of life as a mere employee at a Beverly Hills salon. And so he finally steps up to realize his ambition of opening his own hairdressing business. But he’s broke and the banks won’t lend to such a flighty guy. So he sets his sights on a private investor, an equally self-absorbed, aging millionaire named Lester Karpf (played by Jack Warden, who tellingly has the worst hairstyle in the whole film).

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