ROJO SANGRE

2004

Directed by Christian Molina

A.K.A. Red Blood (literal title)

Plot The name Paul Naschy may not ring any bells for most American audiences, but in Spain he is quite infamous. His career truly blossomed in the 70's, when he bgan to create horror movies at a blinding pace, usually written, and sometimes directed by himself, and himself alone (this film, for example was written by him as well.) His most infamous portrayal was in the role of Waldemar Daninsky, the werewolf, a role he has zestfully played in countless films for nearly forty years now. However, Naschy has been just as much at home with more mundane characters that were just as horrific, such as Jack the RIpper, or Ivan the Terrible. In more than a few ways, Paul Naschy can be considered to be the Spanish equivalent to Christopher Lee, or perhaps Boris Karloff. Using that analogy, it feels apropos to call "Rojo Sangre" Naschy's "Targets", or perhaps "Madhouse", due to its self-referential nature, and because it would make a fine swan-song to remember the man's career by. (incidently, after this film, Naschy has gone on to portray Daninsky for none other than Fred Olen Ray, hardly something to brag about, but at least the guy's getting work...) We open on an audition for a film, with Pablo Thevanet (Naschy) and his friend Martin (played by Spanish acting vet Francisco Algora) both sitting there, waiting their turns while they gossip. Thevanet's turn comes up, and he gives the lines his all, desptie the role obviously being a minor one. The young director dismisses him, telling him he's trying way too hard. Dejected, he goes to his agent, demanding he give him an opportunity that actually has a likelyhood of paying off. First the agent advises him to get a new agent, then referrs him to a small time but steady live gig at an exclusive club. Thevanet, desparate for work, accepts the offer and eventually finds himself at the venue, a grand-guignol-esque live theater, with surreal shows almost constantly occurring. There, Thevanet meets the proprieters, Mr. Reficul, and Ms. Grizzel, and discusses his possible employment with them. Apparently he is to be a "living statue" type mime, wherin he will stand outside in greeting to the customers, unmoving, wearing various classical horror costumes. Considering the high pay for such light work, Thevanet has no choice but to accept. He also meets Tic-Toc, a girl who will act as his go-between, supplying him with costumes and whatnot. Despite some sexual tension between Thevanet and Tic-Toc, I'm pretty sure that she's a dude. Thevanet starts his job, and does it well. At one point, he meets with Martin for breakfast, and the two have a frank and realistic discussion about the state of older actors in today's world of youth and beauty taking precedence over skill. Later, Thevanet goes to a try-out, where he's excited to learn that he was actually requested specifically for the part. Then he learns that the role is a raunchy cameo that's completely obligatory. Disgusted and enraged, he suddenly snaps and kills the director and the director's girlfriend. Then he admits this all to his agent, then explains that he's going to start killing all the other movie scumbags "responsible" for his daughter's death. (Me at this point: "Whaaaa?") He then kills his agent as well. Thevanet then begins down a road to depravity, murding studio execs while in the character disguises from his workplace. My personal favorite is when he dresses as Bluebeard, as Naschy becomes shockingly unrecognizable in the outfit, wig, and beard. Thevanet also begins to slowly distrust his overly supportive boss and colleagues who almost seem to be aware of his rampages... On a technical level, this movie is a ture work of art. Scenes are often segued into by use of clever sooms and fades that are almost disorienting, yet often tiems dazzling. The film's one sex scene evokes a dream-like state, due to the entire sequence being framed within the distorted reflection of a pool of red wine. Also, the film presents itself with enough subtext and social commentary to leave room for plenty of debate, with the main issue of course being the dichotomy the movie industry exhibits by clinging to the past yet treasuring freshness and youth above all. That most of Thevanet's victims are prime examples of the "old system" only further confuses the intended answer of the questions brought up. Also, it must be noted that Naschy is obviously playing an analogue of himself, which only further fuels the power the subtext of this film exhibits.

Rating I give Rojo Sangre: Five Rotting Shambling Corpses out of five.

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