For several years here at Balladeer’s Blog I have been trying to track down, watch and review all of the film versions of Hunterwali (Whip-wielding Woman), Bollywood Cinema’s butt-kicking masked female heroine. Often glibly dismissed as a female Zorro, there is much more cultural context to the Hunterwali figure – contextual significance that goes beyond the particular time period of each film version.
Thus far I have been able to watch the 1935 original, which starred the actress billed as “Fearless Nadia” in India, and the 1988 Hunterwali. I have had no luck tracking down the 1959, 1972, 1977 and 2017 movie versions. Nor have I been able to buy the 1943 film, Hunterwali Ki Beti (Hunterwali’s Daughter), the very first sequel movie in Indian entertainment history.
The basics of the Hunterwali story involve Princess Madhuri adopting a masked, whip-wielding and stunt-riding identity to combat the many injustices inflicted on the kingdom by her father’s evil Vazier Ranamal. That villain even imprisons the king and lusts after Madhuri, little realizing she is really the swashbuckling “protector of the poor and punisher of evildoers” called Hunterwali. Continue reading
Our story begins with the villainous Madame Lee (Mari Honjo), the Asian field boss of a criminal empire, observing a demonstration of her outfit’s new martial arts assassins in action. Ron Marchini IS White Death Machine, Michael Chong brings to life Asian Death Machine and Joshua Johnson wows as Black Death Machine. That’s exactly how our title trio are listed in the credits, by the way. 
KID MONK BARONI (1952) – It’s not Rocky, it’s Spocky! Leonard Nimoy made his film debut in this half-assed, cliche-filled and trope-ridden mess of a movie. 
In lieu of prosthetic ears, Kid Monk Baroni finds Leonard sporting a prosthetic nose for a large part of the film, thus depicting the “ugliness” which drives his hostile urges. Paul Baroni has become a leader of sorts for his pack of juvenile delinquents called the Billy Goat Gang, an inferior imitation of Leo Gorcey and Huntz Hall’s Bowery Boys/ Dead End Kids/ Little Tough Guys and all the other names they used over the years. 
FIREPOWER (1979) – Sophia Loren, James Coburn, Tony Franciosa, Billy Barty and O.J. “Alec Baldwin Times Two” Simpson star in this late 70s combination of an espionage tale and a caper flick. Throw in Eli Wallach, Jake LaMotta and Victor Mature and you’ve got what may sound like the cast of a disaster movie but actually Firepower is a very good film from Lew Grade. 
This review is dedicated to my beloved nephew Donny, who first introduced me to this movie years ago. 
Four Damon Runyon stories were blended into a 93 minute movie that was released to just one theater … missing a reel. PBS Playhouse gave this romantic comedy its widest exposure before it fell down the memory hole. As of this writing it has only 8 reviews at IMDb. 
A CHRISTMAS CAROL (2020) – Christmas Carol-A-Thon 2021 comes to a close with this review of the criminally underrated version of A Christmas Carol that was released last year. This production is easily one of the most beautiful adaptations of the Dickens classic. 
And what thespians! The voice of Andy Serkis is heard, in addition to those of Sian Phillips, who apparently will never die, and Leslie Caron, whom I thought had already died. Serkis provides the dialogue for Marley’s Ghost and Old Joe. Phillips is the narrator whose wonderful performance ties it all together and Caron provides the voice for the Ghost of Christmas Past. 
MS SCROOGE (1997) – Balladeer’s Blog’s Twelfth Annual Christmas Carol-A-Thon is fast approaching its finale. This time around I’m reviewing Ms Scrooge, a Hallmark TV movie starring the revered actress Cicely Tyson as Ebenita Scrooge. 
The main distraction in this telefilm is the one that afflicts many other attempts to set A Christmas Carol in more modern times – employers cannot, and for decades haven’t been allowed to, treat their employees the way that Scrooge treats Bob Cratchit in the original story. Some modern adaptations avoid the problem by just making vague references to Ebenezer’s merciless running of their business, and in my opinion that works the best. Unfortunately this Hallmark presentation constantly takes you out of the story with blatantly illegal conduct by Scrooge. 
CAROL’S CHRISTMAS (2021) – Balladeer’s Blog’s Twelfth Annual Christmas Carol-A-Thon continues with this independent flick filmed in Las Vegas for $500,000.00. Special thank you to reader Lee Anne, who in the past recommended 
Regular readers know I’m open to all kinds of dark interpretations of A Christmas Carol, but unlike efforts like the year 2000 Brazilian film in which Scrooge is a drug dealer, Carol’s Christmas is not a flawed but artful dive into a holiday story which gets distorted by grim realities. 
FUZZ (1972) – This movie is still marketed as if it’s a vehicle for Burt Reynolds and Raquel Welch but in reality it’s an ensemble movie. And not a very good one. Fuzz is based on the 22nd book – of nearly 60 – in the 87th Precinct series of police novels by Ed McBain aka Evan Hunter. The books were set in the fictional city of Isola, but this movie is set in Boston.
Obviously, the science and public image of law enforcement has gone through many, many changes over the decades. The movie Fuzz and its source novel reflect the stylish cynicism and gritty realism of police stories from the period. 
Balladeer's Blog 