ridiculous and absurd. "Mondo Cane" to modern men's eyes, looks like
this. And its subject wouldn’t have place even in the worst
sensationalist show of the worst regional TV. But if we try to imagine
the 1962 society and the dissemination
of information of the time we realize how "Mondo Cane" was surprising
and innovative, and why it has so much influence on the world of cinema.
We are in 1994 and the genre cinema is dead and gone for a while. It
does not seem to get over it, a certain Al Passeri, a pseudonym of the
Italian Alvaro Passeri. A guy who has worked a lot (and as well in
major productions) in film as a sculptor and special effects artist,
and that one day decides to become a director.
He shoots a few horror films, in spite of his old statement "I
don’t like horror movies with bloody effect" but with a jaunty
"We talk about the Americans but we must be careful not to romanticize
ideas and procedures that we have known since years" . It must be said
that these sentences he told to the newspaper
“Unità” in 1982, and that after all one in ten years
has the right to change his ideas. But the right to make films not
everybody should understand his own limits and realize that not
everyone has the skill to sit behind the camera.
Passeri doesn’t have these doubts and as mentioned, in 1994 she
shot this "Plankton”, His debut. A film outrageously trashy, that
for some reason someone tried to arrogate the direction. As revealed in
2010 by Nocturno, Massimiliano Cerchi, an Italian transplanted in USA
and director of direct-to-video films, has often tried to
“steal” the filmography of Passeri attributing different
movies. One thing which alone does not make much sense (Passeri is not
Fulci) and that generated a lot of confusion among journalists and
audience. Confusion on confusion. Because " Plankton " is nothing that
a container of rambling things that strike the viewer heavily since the
first images. On a poor script that recalls the angry monsters, Passeri
creates a trash carousel, so trash that is nice. Among short
flash-back, badly fitted, open images more than gratuitous of tits
(there is a girl in front of a mirror that says she should buy a bigger
bra), moments with jokes or advice on constipation by a hi-tech
bathroom (?) stereotyped horror characters and finally, after a lot ',
an (un) healthy splatter.Passeri, we said, has often worked on special
effects and the creation of monsters and therefore is normal to think
that at least in this aspect we can see something well done. But no.
Fake Monsters and plastic fish move with great awkwardness, sometimes
in stop-motion and in the company of poor digital effects also for its
time. Then there are some weird scenes, as yellow vomit on the lens of
the camera, fluids coming out of vaginas and monsters coming in and out
from the bodies, perhaps after having had sex (do not miss the orgasm
of the monster).
The POV from monster-fish eyes is probably something we will not soon
forget and is the symbol of a story about creatures of the deep that
get angry y a lot. Five young persons (three women, two men) are having
fun in the sea and then wrecked. They find a yacht (?) and they go on
it. It’s a super hi-tech, luxury and uninhabited boat. The five
are put at ease. The boat is actually a laboratory whose scientists,
disappeared, found some archaic sea beings, capable of living out of
water, to speak and to possess the humans. The monsters that never miss
in a horror movie kill even the guys while they dance, they laugh, and
they have sex and promise eternal love. They are joined by the
enigmatic figure of one of the scientists of the boat. He is catatonic
and he can’t help them. Useless.
A trash pearl this "Plankton" a film that tried to keep floats the genre cinema. But it finally drowned.