Fortress In The Sun (1975)

1975 - Fortress In The Sun (Mirick Films International/Jowell Film Productions)

[Release date 24th April 1975]

Director/Story George Rowe Screenplay Humilde "Meek" Roxas Executive Producer Jesse G. Chua Cinematography Armando Dulag Music Emy Munji Theme Song Jun Polistico Editor Josepino Marcos 

Cast Nancy Kwan (Maria de Leon), Tony Ferrer (Tony), Fred Galang (Emilio), Eddie Garcia (Don Eduardo de Leon), Chanda Romero (Teresa), Logan Clarke (Rico), Ruel Vernal (Allan Lee), Mel Francisco (Torrente), Dave Raymundo, Johnny Vicar, Conrad Poe (Mario de Leon), Van Munoz, Roldan Rodrigo, Paquito Salcedo, Romy Nario

Mini-review by Andrew Leavold

Heiress Maria (a beautifully matured Nancy Kwan) returns from overseas to her family's hacienda at Tierra del Fuego, where their sugar plantation's workers have been forced to choose between two evils: the sadistic treatment of her father Don Eduardo (Eddie Garcia at his sneering, domineering best), or the bandit Torrente (Mel Francisco) and his scorched earth policy against the sugar baron. Into the hacienda come two strangers, the undercover cop Tony (former "James Bond of the Philippines" and karatista Tony Ferrer) who in the line of duty falls in love with the kind-hearted reformer Maria, and the mysterious kung fu expert Alan Lee (Ruel Vernal), worming his way as personal bodyguard into Don Eduardo's confidence. An action-drama with a social conscience, this competent Mirick Films export title directed by George Rowe - Ferrer's director on a number of 60s Agent X44 films - is punctuated with fistfights, kung fu brawls, and explosive combat scenes as the hacienda becomes a battlefield pitting boss against workers and sex-crazed bandidos, and a fantastic supporting cast - Fred Galang and Chanda Romero playing sibling worker activists, American actor Logan Clarke as Don Eduardo's equally sadistic henchman Rico, and Conrad (half-brother of FPJ) Poe as one of Don Eduardo's sons.

[Press booklet courtesy of Simon Santos at Video 48]

 

 

 

Wonder Women (1973)

1973 - Wonder Women (General Film Corporation)

[working title “The Terrible Transplants of Dr Tsu”; also released as “The Deadly And The Beautiful”, “The Chinese Puzzle”, “Women of Transplant Island” and in France as “Ongles Rouges et Cuisses d’Acier”]

Director Robert “O’Neil”/Vincent O'Neill Screenplay Lou Whitehill Adapted by Robert “O’Neil”/Vincent O'Neill Producer Ross Hagen Executive Producer Donald Gottlieb, Ronald Remy Cinematography Ricardo M. David Music Carson Whitsett Song "Wonder Women" Charles May Vocals Annette Thomas Editor Richard Greer Art Director Ben Otico Makeup Artist Ernie Carvajal Executive In Charge Of Production Arthur Marks In Charge of Production Nilo Saez Assistant Production Manager Gerry Gerena Sound Elpidio Salvador Special Effects Jessie Sto. Domingo Action & Stunt Coordinator Erik Cord Stills Mike Alejandrino, Beau Marks Script Supervisor Bert Amazan Jr Wardrobe Designer Jerry Bailon Nancy Kwan’s Wardrobe Lumen David Women’s Wardrobe Elcorte Ingles Assistant Cameramen Rodolfo Bautista, Manolito Cuenco Schedule Master Vic 'Basing' Costelo Additional Photography Michael Neyman

Cast Nancy Kwan (Dr. Tsu), Ross Hagen (Mike Harber), Maria De Aragon (Linda), Roberta Collins (Laura), Tony Lorea (Paulson/Lorenzo), Sid Haig (Gregorious), Vic “Dias”/Diaz (Lapu-Lapu), Claire Hagen (Vera), Shirley Washington (Maggie), Gail Hansen (Gail), Eleanor Siron (Mei-Ling), Bruno Punzalan (Nono the Fisherman), Joonee Gamboa (Won Ton Charlie), Rick Revere (Paulson's attendant), Rudy DeJesus (The Boy), Wendy Greene (The Swimmer), Leila Benitez (Lillian Taylor), Ross Rival (Ramon the Jai-Alai Player), Jesus Ramos (The Crabman), Phred Kaufman (The Beggar), Beau Marks (The Blind Athlete), Joe Conners (Joe the Athlete), Logan Clarke (The Attendant), Victor Vematsu (The Servant), Moises Sia (Paulson's attendant), Sal Vaca (The Desk Clerk), [uncredited] Marilyn Joi

Michael J. Weldon’s review from Psychotronic Video Magazine #30 (1999) p.12

Mike Carver (Hagen), a macho mercenary ex-CIA agent in leisure suits, is hired to investigate the disappearance of several athletes. Dr. Su (Nancy Kwan) has had them kidnapped to her private island for use in brain transplant experiments. Except for her assistant (Sid Haig with hair), all her agents are machine gun firing females in mini skirts. The fu fighting Maria De Aragon (from the director's BLOOD MANIA) has the most screen time and there's also blonde Filipino drive-in movie vet Roberta Collins and Afro hair Shirley Washington (DARKTOWN STRUTTERS). An eccentric cab driver (Vic Diaz) becomes Carver's guide and translator, so you get to see a lot of Manila (and a slo/mo cock fight). The General Films release substitutes "brain sex" for the expected skin scenes (it must have been rated PG), but pays off when Su's mutant failures escape from their cells. The score is typical funky wacka wacka wha wha music. Arthur Marks was the exec. in charge of production.

Michael Weldon’s review in Weldon (ed), The Psychotronic Encyclopedia Of Film, New York, Ballantine Books, 1983, p.790

Flower Drum Song star Nancy Kwan is the evil Dr. Su, whose all-female army kidnaps the world's top athletes to dismember and use for spare parts. Their organs are sold to aging millionaires. An insurance investigator arrives at the doctor's island fortress to stop the lady cutups. Producer Ross Hagen gave himself the hero role. With some pitiful monsters and Sid Haig.

Fortress In The Sun (1975)

1975 - Fortress In The Sun (Mirick Films International)

[Philippines release date 24th April 1975]

Director George Rowe Writer Humilde Roxas Producer Jesse Chua Cinematography Armando Dulag Music Emy Munji

Cast Nancy Kwan (Maria), Tony Ferrer (Tony), Fred Galang (Landowner), Eddie Garcia, Chanda Romero, Logan Clarke, Mel Francisco, Dave Raymundo, Ruel Vernal, Johnny Vicar, Conrad Poe, Van Munoz, Roldan Rodrigo, Paquito Salcedo

Synopsis from the Internet Movie Database: Maria is an idealistic, independent-minded woman who returns to her father's hacienda in the Phillipines after a long stay in a US college. Her father is a cruel landowner, who beats and drives his workers to exhaustion. She defies her father by reaching out to the peasants, teaching their children, and caring for their sick. She falls for a handsome peasant, Tony. One day, Tony reveals he is an undercover lawman and leads the peasants to rebellion. In the midst of a gory fight, Maria must make a difficult choice between her father and the man she loves.

Supercock (1975)

1975 - Supercock (Audio Films Specialists Inc/ Hagen-Wayne Productions Inc/The Superchicken Co)

[also released as “Fowl Play”, “Superchicken” and “A Fistful of Feathers”]

Director Gus Trikonis Story Gus Trikonis, Leland Lando Lilly Screenplay Michael Laton Producer Ross Hagen Executive Producers for Audio Films Specialists Inc Lettie B. Soriano, Fred C. Soriano Jr Associate Producers Jorge B. Vargas, Miguel L. Lorza Executive Producer for Hagen-Wayne Productions Inc Gail Wayne Associate Producer Anthony J. Lorea Producers Representation for AFS/HWP Miguel L. Lorza Music Tito “Soto”/Sotto Cinematography Fred C. Soriano Jr Editor Gervasio I. Santos First Assistant Director/Executive in Charge of Philippine Production Fred Galang Titles Roman Arambula Assistant to the Producer Russ Tinsley Production Manager Bien David Production Supervisor Eric Lidberg Wardrobe Design Claire Hagen Assistant Director Dick Adair Script Coordinator Hernan Robles Assistant Editor Rudy Cabrales Sound Effects Editor Antonio Gonzalez Public Relations Hilda Galang Production Secretary Roupert Sese Schedule Master Tony Ramos Transportation Manager Ted Favis Mr Hagen’s Jewellery Dante

Cast Ross Hagen (Seth Calhoun), Nancy Kwan (Yuki Chan), Tony Lorea (G.I. Joe), Subas Herrero (Seeno Nono), Joonee Gamboa (Speeno Nono), Louie Florentino (Heeno Nono), Eric Lidberg (Swede), Charlie “Davad”/Davao (Spaniard), Joe Garcia (Yaso the Turk), Logan Clarke (Cocknapper), Marissa Fernandez (“Tinikling” Dancer) Friendly the Supercock (himself) Goons Cricket Lorza, Johnny Vicar, “Frank”/Franco Zarate, Rene Roque, Johnny Rio, Rolan Montes, SOS Daredevils The Children Roderick Paulate, Dawnie Soriano, Fred Soriano III, Yvette Soriano

Review from the Brains On Film website:

Don't run away kids, this one was also released as SUPERCHICKEN and (yeesh) FOWL PLAY , so it's not about someone's filthy sinful tallywhacker, we wouldn't stoop to that sort of thing on this site. Heck no, this movie's about that wholesome, misunderstood OTHER sport of kings. Yep it's a cockfighting movie. Not to toot our own horns or anything but while everyone else is doing their umpteenth Fulci or Argento review, who else but us is writing about chicken-sploitation?

Anyhow, I myself find cockfighting kinda stupid but I've consumed way too many hot-wings in my lifetime to really be offended by it, so lets just strap in and enjoy the ride. And what a ride it will be since SUPERCOCK is another masterpiece from the Greek and geek tandem of Gus Trikonis and Ross Hagen, the same team that brought us biker flicks THE HELLCATS and THE SIDEHACKERS (aieeeee!!)! And not only that, it's shot in the Phillippines and features Nancy Kwan just like THE DEADLY AND THE BEAUTIFUL! Toss in a few bloody chickens and how can you go wrong?

So anyway, Ross plays a shit-kickin' Oregon pullet-pimp by the name of Seth Calhoun who's in Manila for the annual cockfighting olympics, we can't make this shit up. In the Pines cockfighting is not only legal, but they have an arena for it (complete with PEPSI banners) and chickenfighters from all over the globe are flying in to get a piece of "friendly", Seth's bad-ass motherfucker of a yard pheasant. Seth is immediately on the radar of the local chickenfighting heavy who sends the lovely Ms. Kwan to scope out the competition ("What is your opinion of the American?" "He has the largest cock I've ever seen.") but of course she is quickly enamored with this plucky foreigner because hes Ross Hagen for Christ's sake. This leads to a touching bar-room soliloquy by Seth which illustrates that, like all men, he really loves his cock.( "Have you ever seen a cock that dearly loves good red wine, ,fresh vegetables, and pretty women?")

By the way, if I listed every bad pun using the word "cock" contained in this film we'd have to dump the streaming video off the site for lack of room. Ahhh screw the video, here's but a few:

"Why are you throwing your cock against the wall? Won't you hurt it?"

"Do you have anything to declare?" "Nothing but my cock."

"When my cock smells blood, the fight is over"

"When did you know your cock was a champion?" "When he was just a little pecker."

"Would you like to come up to my room and meet my cock?"

"Your cock must be made of prime hard muscle and free of excess fat."

"One's cock must not only be strong, but look beautiful as well."

"Have you ever noticed that if your cock's dehydrated it turns into a dud?"

"Gentlemen! I would like to propose a toast to our cocks!"

The bad guy sets up a meeting with our hero to try to buy his....cock, but of course Seth refuses, and of course this leads to lots of low grade Bond-esque intrigue and gunfights and well, no car chases, but there is a horse-drawn carriage chase. I don't have to tell you that Kwan and Hagen end up in love but the lovingly filmed slow motion finale is something to see.

Yep, real live animals ripping and tearing the holy living shit out of each other just so Gus Trikonis could film an 80 minute penis joke. (Up yours Raging Bull!!). Friendly wins the big fight of course, and everyone is happy. Well, except for all the mortally wounded chickens.

8 piece box anyone? I'll have extra crispy.

Review from the All Movie website:

Don't be fooled by the packaging of this violent action-comedy's video release; despite its claims of "family fun" and an animated credit sequence, Fowl Play (originally released as Supercock) is not for children. Why anyone would assume that the brutal sport of cockfighting would be appropriate for the whole family is a headscratcher in itself, and the fact that the film gets barely subtle comic mileage out of the double meaning of the word "cock" further proves it was originally meant for adults. Director Gus Trikonis captures the seediness of his tropical setting, focusing on back alleys, crowded streets, and the dilapidated arena that hosts the tournament, and a climactic horse-and-buggy chase is an unintentional hoot. However, the main character's attempts at justifying his sport are weak at best, and despite his radical "affection training" the whole enterprise is ultimately just a way for him to bet heavily enough to avoid work. Of course, if the viewer has no qualms with cockfighting, then Fowl Play will appear to be just another lightweight, predictable drive-in picture, though the controversial nature of the subject will likely raise questions for most.

The Pacific Connection (1974)

1974 – The Pacific Connection (Nepomuceno Productions Inc)

[release date 14th November 1974, also released as “Stickfighter” and “South Pacific Connection”]

Director/Story/Producer Luis Nepomuceno Screenplay Jacques Ehlen, Cesar Amico, Robert Ursul Cinematography Loreto Isleta Sound Director/Unit Production Manager Wilfred Ruiz Editors Emil Haviv, Eli Haviv, Jacques Ehlen Music Yuri Haviv Art Director Johnny Crisostomo Assistant Director Mario David Script Supervisor Dennis Villaconta Wardrobe Lolita Parfina Makeup Angie Castillo Fencing Consultant Mario Escudero Arnis Consultant Remy Presas Samurai Consultant Hiroshi Tanaka Martial Arts Choreography Chiqui Ocampo

Cast Roland Dantes (Ben), Nancy Kwan (Leni), Guy Madison (Old Man), Alejandro Rey (Governor), Dean Stockwell (Miguel), Cole Mallard (Antonio), Gilbert Roland (Allan), Gloria Sevilla (Maria), Hiroshi Tanaka (Mori), Fred Galang (Ramon), Elizabeth Oropesa (Ligaya), Nonet Lagdameo (Bonggo), Vic Diaz (Tsang), Joaquin Enrique (Kin), Teddy Benavidez (Captain #1), Roberto Saez (First Mate), Mark Le Buse (Captain #2)

Julian Grainger's review from Stefan Jaworzyn (ed.), Shock Xpress #1, London, Titan Books, 1991

Every year a lot of movies are made in the Philippines, often produced with American actors and directors filling in the gaps between their Stateside assignments, but until the advent of video very few were seen anywhere else. There are exceptions of course: the Eddie Romero-directed Blood Island films (with John Ashley) were given an extended release in the US, and Roger Corman has had various co-production deals going since the early '70s - co-financing and distributing films by prolific Filipino director Cirio H. Santiago. But usually these movies remain effectively invisible in the West, and actress Nancy Kwan had a second career in Filipino movies during the '70s that has gone almost entirely unrecorded.

One film that does sometimes appear in lists of Kwan's work is The Pacific Connection made by Filipino mogul Luis Nepomuceno. It's a martial arts movie set in the mid-19th century and, with its locations and period galleons, must have had a relatively large budget by Filipino standards. Nepomuceno served as director, producer and writer and it was filmed at his own studio complex on the outskirts of Manila. The film is concerned with a vendetta between wrongly imprisoned farmer Ben (Roland Dantes) and the Governor (Alejandro Rey) who murdered his parents. Ben escapes to an idyllic island where he falls in love with beautiful local girl Leni (Kwan). Eventually the Governor hires a samurai assassin to hunt Ben down and he is forced to fake his own death. Ben is taught the higher martial arts by the mysterious Old Man (Guy Madison) and eventually overcomes his adversaries.

This is an immensely enjoyable movie; Dantes is an expert in arms (combat using sticks) and his skills are used to great effect in several well-choreographed and brutal fight scenes. The film does have its sleazier moments (the Governor's fairly graphic castration as he tries to rape Ben's mother, for example), but unfortunately it is top-heavy with redundant dialogue and the narrative is frustratingly unfocussed and episodic -at one point Ben is sent on a quest to find a magical reed (that will provide him with protection from wounding) yet there was no previous indication of mysticism in the plot. While by no means a classic lost film, it is recommended as a fascinating curio and is a must for all devotees of martial arts on celluloid.