The Wild World Of Batwoman
aka She Was A Hippie Vampire
Director/Writer Jerry Warren
Cast Katherine Victor (Batwoman), George “Andre”/Mitchell (Professor G. Octavius Neon), Steve Brodie (Jim Flanagan), Richard Banks (Rat Fink), Bruno VeSota (Seltzer)
Here at Schlock Treatment we've championed the films of Z auteurs such as Ed Wood Jr, Ray Dennis Steckler, Larry Buchanan and many others. Mostly they were enthusiasts who truly wanted to make a good film, but ultimately didn't know how; it's their shared passion and inherent naivety that gives the films their charm. Then there's Jerry Warren, a contemptuous character whose disregard for his audience is legendary. It's often said he knew exactly what his audience wanted - he just refused to deliver.
Then there's the films he made from scratch, in a rare fit of inspiration. The Wild World Of Batwoman from 1966 was an obvious cash-in on the Batman craze, but with the texture and self-conscious unfunniness of a Sixties porno. It's such a grotesquely painful act of self-sabotage that it begs the question: who was it made for, and why?
Veteran Warrenite Katherine Victor, best remembered as mad scientist in his 1960 Teenage Zombies, is the title character. Obviously a little long in the fangs to play "Batgirl", the wary Victor was lured back to Warren's stock company with the promise of a spectacular Batboat and outfit, none of which Warren could or would deliver. Instead she cobbled together her own costume with a black teddy, feathered mask, bondage boots and a Bat Tattoo across her cleavage in eyeliner. Needless to say, she is a magnificent creature.
The plot, for what it's worth, features Batwoman and her Batsquad of Batgirls on the trail of a missing Atomic Hearing Aid, stolen from the Ayjax Development Corporation. Now in the hands of her Arch nemesis Rat Fink (yes, you heard correctly), he blackmails Batwoman into helping him take over the world. Meanwhile Rat Fink's insane brain trust, the Dr Strangelove-esque Professor Neon and his hunchback assistant Heathcliffe (hear that? It's Emily Bronte clawing at her coffin lid!) plan to mate the captured Batgirls with his patented monsters (and yes, that's footage from The Mole People) in Rat Fink's underground city. The film's idiotic denouement is little more than an excuse for an umpteenth scene of go-go dancing on the beach, and if the one-dimensional Batgirls redefine the term "amateur theatrics", keep in mind the local strip club was being closed down by the police while Warren's casting director waited outside with a huge butterfly net.
It's like a porno without porn, a joke without a punchline, a Batman episode stretched to the point where Victor Buono's stripped naked and crying into his icecream. Of course, DC comics sued;
It's a crime, to be sure, and since
aka Dünyayi Kurtaran Adam/“The Man Who Saved the World”
Director Çetin Inanç Writer Cüneyt Arkin
Cast Cüneyt Arkin (Murat), Aytekin Akkaya (Ali), Füsun Uçar (Bilgin'in Kizi), Hüseyin Peyda (Bilgin)
There's a scene missing from Star Wars Episode IV that no doubt ended up on the cutting room floor, in which
In the annals of Third World film thievery,
By the late Seventies, Yesilcam was in its decline due to colour film's increased cost of production, serious competition from Hollywood, political and economic turbulence, and of course the proliferation of TV. The Man Who Saved The World (1982) was regarded as Yesilcam's Last Stand, a final assault on
The film opens with our two Turkish heroes Murat and Ali battling the enemy of mankind, a Darth Vader clone in a spiked helmet known as The Wizard, against a stretched backdrop of George Lucas' destruction of the Death Star. And listen carefully - is that the theme to Raiders Of The Lost Ark? It won't be the last time your ears pick up the familiar strains of American pop culture; from Planet Of The Apes to Moonraker, The Black Hole to Battlestar Galactica, they're all represented in a rare case of Equal Opportunity Thievery.
Our heroes' X-Wings (ahem) crash land on a planet - ostensibly an alien one, although, under the shadow of Planet Of The Apes they see
And WHAT a finale - a bloodied tinpot spectacle with gorilla suits, exploding heads, X-wings destroying the Death Star, and shots of Lucas' stormtroopers intercut with Cuynet karate-chopping red fluro plushies in two with his metal hands. I guarantee you have never seen a film so incongruous, so jaw-dropping, so overwhelmingly and consciously blatant in taking on