1961: Tierra Brutal aka The Savage Guns
I had high hopes for Tierra Brutal. It’s a film that’s not easy to find, but, being a fan of Richard Basehart since watching him as Admiral Nelson in Voyage to the Bottom of the Sea as a boy, the prospect of seeing him take the lead in what I’d heard described as a proto-spaghetti western (it was filmed in Spain) was hard to resist. So perhaps my expectation were a little high when I finally tracked it down. I was hoping to unearth a hidden gem, what I got was a fairly standard B western that has little of the style of the spaghetti westerns that were to come a few short years later.
Perhaps this lack of continental flavour shouldn’t have come as a surprise, the film was directed by an Englishman, Michael Carreras, a name that’s more familiar to horror fans than western aficionados. Michael was a producer and director with Hammer Films and the son of the studios founder Sir James Carreras. Not the sort of background you’d expect for a western movie director but he does a competent, if decidedly unspectacular, job.
Basehart does well as the gunfighter who’s looking for a place to hang up his guns (yes that old chestnut) but finds it’s never that easy to escape your past. The rest of the cast is made up of minor American actors, attractive Spanish ladies and a presumably hard up Fernando Rey. All of which leads to a frankly rather dull 90 minutes.
1990: The Reflecting Skin
Philip Ridley is a director who divides audiences, is he pretentious and deliberately obscure or a visionary filmmaker who gives us a quirky, and often bleak, view of the world? After watching The Passion of Darkly Noon I was leaning more towards visionary than pretentious and The Reflecting Skin has pushed me further that way.
Told from a child’s perspective but with little of the happy nostalgia such films usually foster, this is a bleak look at depression era rural America. The film lacks any characters you can really identify with, everyone is a little weird, not least our central character, ten year old Seth Dove, and they’re not very sympathetic either. The film has a very dark tone and yet it’s also strangely beautiful, there’s some gorgeous cinematography.
It isn’t without it’s weak points – Jeremy Cooper, making his screen debut as Seth, isn’t a strong enough actor to carry the film and the pace at times is too slow, although whenever you feel your attention starting to wander the film throws another level of weirdness at you that pulls you back in.
I don’t want to give too much away, I knew very little about the film going in and I think that worked in its favour. It’s a hypnotic, at times deeply disturbing drama with some strong supporting performances, Duncan Fraser as Seth’s Father being worthy of special mention, as is Sheila Moore as his tyrannical and mentally unstable Mum. It’s not a film that’s quickly forgotten, there is at least one truly horrifying moment and enough disturbing images for a few nightmares but there’s also the question of what Ridley was trying to say with his portrait of this truly dysfunctional family. Ridley’s view of childhood certainly isn’t the rose coloured golden years that the movies often promote it as. The superficial beauty of the setting contrasting with the dark secrets that all the characters have.