Cruel Horizon (1989)

1989 - Cruel Horizon (Skyline Films)

[A Belgian production shot in the Philippines. Released in West Germany as “Insel Der Gequälten Frauen”]

Director/Producer Guy Lee Thys Story Leon Lemahieu Screenplay Guy Lee Thys, Leon Lemahieu Associate Producers Marc Stockbroerx, Jan Morre Cinematography Alessandro Usai Music Nicholas Lens Editor Ben Mangelschots Art Direcor Philippe Graaf Production Managers Gerard Vercruysse, Guy Lee Thys Production Assistant Rudolf Mess First Assistant Director/Press & PR Miriam Thys Second Assistant Director Ludo Troch Third Assistant Director Jan Cornelis Groen Art Director Philippe Graff Script Girl Veronique Lagrange Production Designer Pierre-Francois Limbosc? Camera Operator Alessandro Usai First Assistant Camera Paul Gruszow Gaffer Jacky Borremans Sound Recordists Dan de Bever, Frank Struys Additional Sound Alain Sironval Foley Artist Marie-Jeanne Wyckmans Re-Recording Mixer Gerard Rousseau Music Mixers Peter Bulkens, Walter Rothe Sound Editor Monique Rysselinck Assistant Sound Editor Dominique Lefever Magnetic Transfer Dirk Bombey Sound Mixer Ad Roest Assistant Editor Ewin Rijckaert Assistant Video Editor Marielle Hervy Negative Cutter Maria Holland Color Timer Peter Hunt Optical Effects Roger Vervoenen Special Still Photographer Christian D’Hoir Title Logo Jean-Pierre Bobbaers Legal Advisor Michel Gyory Accountant Henri Ubfal Vietnamese Advisor Le Chi Cuong Second Unit Production Manager Robert Vanderheyden Second Unit Gaffer Willy Stoers Second Unit Camera Assistant Frans Leys Second Unit Sound Recordist Kees de Groot Second Unit Set Construction Jan Morre & Company Second Unit Electricians Gevaert Brothers Second Unit Transportation Jan Tratsaert Second Unit Set Dresser Eric Desmedt Second Unit Hair Stylist Michel Andre Second Unit Make-Up Jean-Pierre Finotto & School

Philippines Crew Production Manager Pete Abulencia Production Assistants Orly Abulencia, Marni Camua Jr Production Secretary Lea Bernardez Schedule Master Maning Santa Maria Location Manager Antonio Ramos Casting Director Socrates Jose Assistant Director Joel Apuyan Bookkeeper Alfredo Devaras Field Cashier Eden Elmido Generale Meal Checker Gloria Elmido Health Counselor Francisca Elmido Decorator Jens Peter Gaw Property Master Awi Vasquez Set Dresser Leonardo Carpenters Ernesto Marcial, Rick Casantusan Make-Up Artist Malou Talplacido Make-Up Assistants Preci Bali, Florencia Penero Hair Stylist Leo Beringuel Wardrobe Master Anthony Gimeno Wardrobe Assistants Mila Rodriguez, Erna Meladino Stills Roger Robles Assistant Photographer Beth Gaffer Miguel Passion Best Boy Eddie Quintam Electricians Roy Baldano, Luis Gonzon, Domingo Larango, Roberto Santos, Eddie Santos Cable Man Rufo Balicas Generator Man Ed de Guzman Head Security Lito Tamayo Mr Thys’ Bodyguard Vehn Pedria Vietnamese Casting Chito Polminar Divers Conrad Paino & Company Boom Operator Ago Maricotes Camera Assistant Daniel Delina Camera Loader Eduardo Bustos Clapper Boy Arturo Capulong Key Grip Rene Balicas Grip Best Boy Joel Cruz Grip Dino Legaspi Transportation Captain Rick Tipay Martial Arts Instructor Telly Babasa Head Special Effects Jesse Manaloto Special Effects Assistants Ed Domingo, Bert Abadera, Rolly Brazil Caretakers Special Effects Boy Madriaga, Roberto Mercado Head Utility Fred Mergalo Office Utility Nilo D. Castro Office Security Abel Garcia Catering Lapid Catering

Cast Bruce Baron (Nick Vandam), Jessie Elmido (Mai), Marilyn Bautista (Kim), François Beukelaers (Mike Forrester), Jan de Bruyne (Horst Haack), Ingrid De Vos (Nick's Secretary), Joonee Gamboa (Sarit), Louis Kee (Sarapong), Spanky Manikan (Kim's Husband), Ding Navasero (Charoon), Len Santos (Mama Thong), Robert Tongco (Pirate Sawaeng), Angelique Tongko (Tiki), Jenny Varga (Toy), Cris Vertido (Police Captain), Bong Antonio (Dead Son), Telly Babasa (Pirate Toom), Francois Beukelaers (Mike Forrestier), Kevin Blanco (Camp Officer), Chabin Contreras (Old Woman), Vanessa Elmido (Baby Nam), Tracy Generale (Baby Prostitute), Luis Hilario (Messy Pimp), To Hoa (Chink), Ba Dac Huynh (Airport Cop), Inada San (Japanese Tourist), Larry Laurel (Man With Newspaper), Peter Loro Jr (Jun), Conrad Paino (Thai Fisherman), Philip Pigao (Very Short Pimp), Chito Polminar (Old Refugee), Raymond Silva (Prison Guard), Miriam Thys (Ground Stewardess), Ray Tongko (Gay Kid), Dan Van Bever (Saigon Frog), Kim Vloeberghs (Noy), Patries Wichers (Horst’s Hooker), Sithan & Co (Thai Boxers) Stunts Boy Amano, Telly Babasa, Bobo Brazil, Rolly Brazil, Romy Brazil, Ariel de Guzman, Alfredo Devaras, Bong Gomez, Alvino Miranda, Eddie Miranda, Christie Mujer, Romy Osorio, Miguel Passion, Vehn Pedria, Eddie Quintana, Joey Segreto, Vangie Tesoro

Bruce Baron on the making of Cruel Horizon (from the interview on the Nanarland website):

The film was eventually sponsored by the Belgian Ministry of Culture. I met the producer/director, Guy Lee Thys, at a reception in the Belgian Embassy in Manila in ‘84, when I was dragged along there by a Filipino chick I was going out with, who was paid to appear as a model at a fashion show that they had at the reception. Guy was in Manila, scouting locations for the film and trying to get laid. We hit it off and I started hanging out with him, introducing him to the local glitterati and generally misbehaving Manila style, pre-AIDS. About a year later ['85] he got enough sponsorship to shoot a few scenes, mostly from Stella Artois®, which he intended to string together as a ‘trailer' to use as a promo to get full sponsorship. He cast me in the lead and cast the other major roles with Filipino locals, including one chick named Jesse Elmido, [a newcomer] as female lead, who happened to be the best looking chick that he managed to screw during his previous sojourn [he eventually married her and lived to regret it, but that is another story]. Anyway we shot for about 10 days, using my famous Roxas Blvd. pad as the production office and interiors set.

Then he disappeared back to Europe to find the money, and didn't turn up again until fall of 1988, when we shot 45 days of principal photography, mostly along the Batangas coast. By this time he was living with Jesse and devastatingly drunk most of the time. She actually encouraged his drinking because it made him easier for her to ‘manage' him. More than once he had to go sleep it off in the middle of the day, and that meant somebody had to take over, or we lost the day. One love scene he didn't want to direct because Jesse was nude in bed with me and the script called for me to play with her tits. He got jealous and drunk and passed out. It was in the studio and we were set up and we had to do it, so I just called sound and action and we did it. That was how it started, I think. The precious little Belgian A.D. was too wrapped up in his own little job and unwilling to accept responsibility, so I did. Surely the film suffered for it in a few scenes, because I had no direction, and was not up to the task of acting and directing at the same time. It only happened a few times.

It wasn't a simple film. It was a documentary/drama set in Thailand about Vietnamese refugees being forced into white slavery in Thailand, loosely based on news clippings and other reports of horror stories from Thailand, shot SoF and 35mm, with a full imported Belgian crew. Eventually, we wrapped and he took it off to Belgium for post. Turned out we needed a few more scenes, which we didn't get to shoot until the winter of '89 in Belgium. When released, it had a few days of theatrical release in Belgium and went straight to video. Thus ended my illustrious film career.

The Raiders Of Atlantis (1983)

1983 – I Predatori Di Atlantide (Regency Productions)

[export title “The Raiders Of Atlantis”, also released in the UK as “The Atlantis Interceptors”, in France as “Les Predateurs Du Futur”, and in Germany as “Atlantis Inferno”]

Director “Roger Franklin”/Ruggero Deodato Executive Producer [on IMDB only] Maurizio Amati Script “Robert Gold”/Tito Carpi, “Vincent”/Vincenzo Mannino Music “Oliver Onions”/Guido De Angelis, Maurizio De Angelis Director of Photography “Robert”/Roberto D'Ettorre Piazzoli, [listed on IMDB only] Sergio D'Offizi Editor “Vincent Thomas”/Vincenzo Tomassi Art Director Tony Amalfitano Costume Designer ???y Serano Associate Producer Alex Ti??? Dialogue Editor Michael Billingsley Post Sync Director Nick Alexander Assistant Director Mary Anthony Script Continuity Georgia Sullivan Unit Manager Ted Dobson Assistant Unit Manager Tom Ward Assistant Camera Operators “Fred Vicar”/Fabrizio Vicari, Vince Aronica Action Stills “Frank”/Franco Vitale Special Effects “Gene Reds”/Gino De Rossi Set Dresser Joe Peters Wardrobe Assistant Cindy Martins Gaffer Lewis Patters Key Grip Alfred Donovan Props Sandy Brown Wardrobe Lucille Bennett First Assistant Director Peter Thomas First Production Assistant Geraldine Picar Second Production Assistant Pat Gauvan Dizon Makeup Artist Maurizio Trani Hair Stylist Mary Morris Sound Supervisor Dean Peterson Boom Operator Janet Bock Sound Mixer “Benny”/Bruno Moreal Wigs Rocchetti & Carboni Foley Al Gramigna Miniatures Al Passeri [on IMDB only] Sound Recorist Antonella Boetani Special Effects Paolo Ricci Stunt Co-Ordinator Rocco Lerro Stunts Angelo Ragusa

Cast Christopher Connelly (Mike Ross), “Marie Fields”/Gioia Scola (Dr. Cathy Rollins), Tony King (Mohammed/Washington), Mike Miller (Klaus Nemnez), Ivan Rassimov (Bill Cook), “John Blade”/Giancarlo Prati (Frank), Bruce Baron (Crystal Skull), George Hilton (Professor Peter Saunders), Mike “Monti”/Monty (George), “Michael”/Michele Soavi (James), Audrey Perkins, “Morris Fard”/Maurizio Fardo (Larry Stoddard), “Benny Lewis”/Lewis E. Ciannelli (Oil Rig Commander), John Vasallo (Manuel), James Demby, Gudrun “Schemissner”/Schmeissner, [uncredited] Benedetta Fantoli, Gianni Franco, Gianni Gianfranco, Adriana Giuffrè, Ruggero Deodato (Oil Rig Assistant), Angelo Ragusa (Motorcycle Raider w/headband)

Kinavesa and Silver Star - Introduction and Philippines-only films

Kinavesa/Silver Star director "Teddy Page" (real name Teddy Chiu), and regular actors Max Thayer and James "Big Jim" Gaines

Bruce Baron on Kinavesa/Silver Star [from Bruce's interview on French website Nanarland]

During the ‘80s there was a fair amount of foreign films shooting on locations in the P.I. [Mostly as a result of Coppola having shot Apocalypse Now there for 2 years and leaving a lot of equipment, sets and trained crew behind, when he left]. After Dragon Force played at the Manila Film Festival and I went there to help promote it, I got invited back to do work. The production company responsible for the films in which I participated in the P.I. [as the lead actor] were produced by a company called Kinavesa owned by K.Y. Lim [AKA “Slippery” Lim].

I wouldn't call K.Y. unscrupulous. He was just very parsimonious, and an unsympathetic, hard nosed Chinese businessman. He was in it strictly for the money. He didn't lie, or blow smoke up your ass about making you a star, and he had no pretensions about what he was doing, or even trying to make serious films. He offered you a job, settled on a fee, and he made the film when he said he would. He paid you the money he said he would, when he said he would, without trying to fuck you, [literally, there are an awful lot of queer Filipino producers], or fuck you around. Compared to most other Filipino producers that made him a true prince among men.

His films were consistently made for well under US$50K [all in], shot in less than 28 days, and marketed as “Cannon fodder”. K.Y. would take them to Cannes or Milan and sell them to Golan & Globus at Cannon who would package them as freebies together with their Rambo or other big films as a marketing ploy [when distributors complained that they were charging too much for territorial sales of their big action films, Cannon would throw in 2 or 3 of these little Kinavesa cuties for free, as if to make their other big films seem a better deal].

Teddy "Page"/Chiu (blue t-shirt, standing sideways) on the set of Deadringer

At that time most of the Kinavesa quickies were directed by Teddy Page [whose real name was Teddy Chiu, a Philippine Chinese kid in his early 20's at the time] and Jun Gallardo, a local cameraman / director in his forties. I remember both of them being good guys, just trying to make a living to support their families in a very third world environment. Most of the actors you mention, along with me, formed part of a loose sort of ‘troupe' that they would draw on to make the films. I made 4 of them and would have done more, because I had rented a choice pad on Roxas Blvd. [overlooking Manila Bay and the Playboy club pool deck] for US$100/month, and was always looking for an excuse to use it. I probably would have done more of them, but for the fact that every time Richard [Harrison] appeared in one he ate up 50% of the whole budget, and they wouldn't have enough left over to pay me a “decent” wage. K.Y. and Teddy would approach one or all of us to do certain parts in the films, [in my case they would call me in HK, and send a ticket if I said yes]. If I was available in terms of scheduling, and they would pay enough money, I would do it. My going rate for Kinavesa was US$2000 a film and a round trip airfare from HK.

I turned down more than I did, because they seldom wanted to pay over US$1500 [and Mike Monty and some other guys you mention would work for less than I would]. The films always wrapped start to finish in under a month. There was a lot more camaraderie and spirit de corps on these films than we ever had on the HK productions. Conditions were terrible. The food was bad, the lighting was a joke, and the scripts were patently formulaic and ridiculous, but there was no bullshit and no pretence. None of us had anything better to do and it was generally a lot more fun and better atmosphere than I ever had on the HK productions, hanging out in Pagsanjan, smoking Filipino rag weed, riding around in Jeeps and trashing ass with the Filipino girls.

The Filipino crews were way more sympathetic than the Chinese, and of course spoke English as well. It was on one of these productions that I first met Richard Harrison, but I only did one or two films with him because he used to get paid a lot more than any of the rest of ‘the troupe'. He would eat up so much of the budget that K.Y. could seldom afford both me and him in the same film. He was flown out from Italy, mostly with his wife, paid better and put up in a decent hotel because he had more name recognition with Golan/Globus than any of the others of us. My impression is that all of us except Richard were pretty much living hand to mouth and did the films to survive and for fun, rather than for any great love of the art of film making. Lets face it, there wasn't much art involved beyond staying sane, and sober enough not to get hurt in a fight scene, or by the pyrotechnics, and chase scenes in beat up old cars that couldn't pass a road inspection, even in the Philippines [bald tires make more dramatic skids].

Don't forget, there was only so much work. It was very much a zero sum game. We were competitors. If Mike Monty did a job for US$1000 or US$1500, it very likely meant US$2K out of my pocket. I believe he often took the work at lower pay than me, if it was offered, just to survive. Usually K.Y. rotated the lead roles irrespective of pay levels, because he couldn't have all the films with the same unknowns as leads. But more than once Mike did jobs offered first to me, just because he was cheaper, or they wouldn't have to pay his airfare. I based myself out of HK because it was a much more mature economy, where it was actually possible to earn enough to save some money, and it definitely kept me from becoming perceived as one of the local bums, or ever falling completely to the producer's mercy.

Actually, I'm surprised you never seem to mention the likes of Don Gordon or Romano Kristoff, who were two other Manila ‘actors' who seemed to do a lot of work [maybe that's just because they never attained the notoriety of getting sucked in by IFD]. They were much better friends of mine than Mike Monty, and we had made an informal pact that we wouldn't work for less than US$2K for a lead in one of K.Y.'s films. Romano especially was the real deal. He was Spanish, ex Legion Etrangere, and a serious Martial Artist. He worked very hard at having a film career, and seemed to work a lot. The fact that he was able to survive full time in Manila, without seeming to get stuck in the mire, was always a source of wonder and amazement to me…

Most of the local Caucasian extras in the Philippines were just unrepentant bums. They were often alcoholics and pot heads that had gone to the Philippines to chase cheap beer, pot and pussy, and ended up marooned in Manila, too broke to scrape together enough to leave.

My impression was that most of them weren't that serious about film at all. It was just a stop gap, a way to earn a crust without taking a real job, which they couldn't get for lack of skills and/or a work permit. Often they had got some local girl pregnant and got mired in a cycle of guilt and responsibility, and couldn't earn enough to pay their way out of it. Understand, the Philippines are truly a third world economy. If you get relegated onto that economic level it is really hard to make enough money to extricate yourself, especially if you have created moral or financial responsibilities for yourself in that environment, or overstayed.

One of the biggest problems these guys used to get into was overstaying their visas. Legally it wasn't that bad, but to get an exit visa after you had overstayed, you had to pay a fine of 100 Pesos a day [US$5] for every day of overstaying. Foreigners couldn't get any straight job without a work permit, which were only issued overseas with lots of documentation, prior to arrival. So a lot of these guys were stuck in a vicious “Catch 22” cycle. They couldn't get a real job without a work permit and they couldn't earn enough to pay for their exit visa without a real job, and the fine mounted daily. The extras on those films were paid 100 pesos a day [US$5] plus room and board if on location [double occupancy in a bamboo shack without plumbing and all the fish and rice you can eat with a bottle of San Miguel]. That was the same they would pay the locals, who would be happy to take the jobs if they were fair haired enough to pass as Caucasians. Consequently there were a lot of down and out types working on these movies as extras [no work permit required] but they weren't making nearly enough to break the cycle.

The guys whose names you mention were certainly better off than the extras, but often not much from what I could see. Some at least pretended to take it seriously, as if they honestly believed that this was going to lead them into stardom, somewhere along the line. I think mostly they did it out of laziness, for the fun, the pussy, and the notoriety. Even the day players with lines only made about US$20/day. It's only enough to get by if you are living the vida local, eating fish and rice and staying in a shanty deep in some third world slum. But if that is the only job you can get you're screwed, because it surely wasn't like they could find work every day. A few days, a month at best.

Mike Monty worked hard at it and took it [a little too] seriously, I thought, considering how lousy the films were. I think he married a Filipina, at least partially to beat the visa problem. Jim Gaines, I think, was half Filipino, half American with dual citizenship. Nicholson, I think was in the mire. Romano Kristoff and Don Gordon, were writing scripts as well as acting, and trying to produce. Both were pretty seriously committed, not that it seems to have done either of them much good. If you take a look at their filmographies as published on the web, it seems all the work fizzled in the early ‘90s. Is anybody making these films anymore?

1977 - Phandora (Kinavesa)

[release date 23rd September 1977]

Director Jun Gallardo Cinematography Nestor Orense Editor R. Alberto Music C. Rodriguez

Cast Ramon Zamora, Vic Silayan, Lita Vasquez, Alma Moreno

1978 - Emma Henry: Policewoman (Kinavesa Productions)

[release date 19th May 1978]

Director Armando R. David Cinematography Nestor Orense Editor R. Alberto Music C. Rodriguez

Cast Emma Henry (herself), George Estregan, Dindo Fernando, Tricia (Trixia?) Gomez, Barbara Luna, Beth Bautista, Laila Dee, Ruby Anna

From Wikipedia: Emma Henry (died 1986) was a Filipino police officer whose exploits were the subject of two Filipino film biopics wherein she starred as herself.

Henry was arguably the first prominent female law enforcement officer in the Philippines. A police officer, she was proficient in judo and karate, sports not commonly associated with Filipino women in the early 1970s. As a police lieutenant in Laguna, she stood out in the male-dominated police force. In 1973, she was named as one of the country's "Ten Outstanding Policemen". She eventually became the first woman to be assigned as a police station commander.

Henry gained further fame after she agreed to play herself in a biopic on her life produced by Kinavesa Productions. Released in 1978, Emma Henry (Policewoman) showcased Henry's martial arts skills and was a success.

1978 - Ex-Convict (Naligaw Na Landas) (Kinavesa)

[release date 10th November 1978]

Director Jun Gallardo Screenplay H. Roxas Cinematography Nestor Orense Editor R. Alberto

Cast Rudy Fernandez, Alma Moreno

1979 - Dalaga (Kinavesa)

[release date 30th May 1979]

Director Jun Gallardo Screenplay H. Roxas Cinematography Nestor Orense Editor Pepe Marcos

Cast Dante Rivero, Ruel Vernal, Trixia Gomez, Lorna Tolentino, Rez Cortez, Ruby Anna

1981 - Hantingan (Kinavesa)

[release date 10th April 1981]

Director Francis “Jun” Posadas Story Clem T. Santiago Cinematography Jun Rasca Editor Joe Mendoza

Cast Ace Vergel, Ruby Anna, Eddie Garcia, Azenith Briones, Rocco Montalban, Baldo Marro, Romano Kristoff

1982 - Mga Hayop Sa Paraiso (Kinavesa)

[release date 14th January 1982]

Director Jun Gallardo Screenplay H. Roxas Cinematography Jun Rasca Music Totoy Nuke

Cast Dante Varona, Philip Salvador, Liz Alindogan, Carmi Martin

This film may have been dubbed for export as...

1982 – Raiders For Victory (Kinavesa?)

Director Jun Gallardo

Cast Philip Salvador, Bembol Rocco, Beth Bautista, Carmi Martin NO OTHER DETAILS AVAILABLE

1982 - Ang Patibong (Kinavesa)

[release date 21st May 1982]

Director Francis Amorez Editor Rudy Alberto

Cast Bembol Rocco, Philip Gamboa, Pia Moran, Marissa del Mar

1999 - Anino (Silver Screen International)

Director Teddy Chiu Writer Mike Cassey Executive Producer K.Y. Lim Cinematography Vic Anao

Cast Roi Vinzon (Anino), John Regala (Victor Valdez), Mike Cassey (Mr King)

Mad Dog (1983)

1983 – Mad Dog (Silver Star Film Company)

[Released in Denmark as “Mad Dog 2”]

Director “John Gale”/Jun Gallardo Screenplay Timothy Jorge Producer [uncredited] K.Y. Lim Assistant Director Teddy “Page”/Chiu Cinematography John Rusk Editor Rennee Tanners Music Patrick Wales

Cast Romano Kristoff, Bruce Baron, Don Gordon [Bell], Michael James, Gwendoline Hung, Jisselle Morgan, Jackylyn Cloud, Laura Gassman [listed on the Dutch VHS cover as “Grassmann”], Mandy Haywood, Monique Lords, [uncredited] Mike Cohen, James Gaines, Steve Marks

Fireback (1983)

1983 - Fireback (Silver Star Film Company)

[Released on German VHS as "Fireback – Ich Will Keine Gnade" and on French VHS as "L’Executeur II"]

Director Teddy “Page”/Chiu Story/Screenplay Timothy Jorge Producer [uncredited] K.Y. Lim Cinematography Al Gray Editor Eddie Mac Music Patrick Wales Grip Lawrence Peck Key Grip Lew Brown Production Assistant Bobby King Production Secretary Lucille Bates Production Design Mario Cole Propsman Peter Cole Field Cashier Dhel Mayer Special Effects Jess Cole Make-Up Artist Diane Meyer Stills Roger Massey Assistant Director Larry Brown Assistant Editor David Mac Fighting Instructors Benny Roman, Larry Brown Second Unit Cameraman Benny Roosevelt Assistant Cameraman Dennis Murphy Sound Effects Winston Black Sound Mixer Ron Kennedy Titles Norman Productions

Cast Richard Harrison (Jack Kaplan), Bruce Baron (Duffy Collins), Gwendolyn Hung (Eve), Anne Milhen (Diane), James Gaines (Digger), Ruel Vernal (Man with the Golden Hand), Mike Monty (Police Chief), Ronnie Patterson (Deputy), Pat Andrew (Jack's Neighbour), David Anderson (Jack's C.O.), Steve Mark (Bart), Ed Harris (Man in Motorcycle), Ann Mills (Girl in Motorcycle), Robert Wise (Bartender), John Cocker (Bartender), Tony Aaron (Ninja), Ron David (Cat Burglar), Pete Mancini (Panther), Benny Roman (Khmer Rouge Leader) Rescue Team Raymond Wallace, Roger Fields, Ted Miles, David Estrada, Bob McNeil Messenger Peter Harrison Nurse Sarah Harrison Bouncer George Gyennes Man at Newstand Adolf Conrad

[NOTE: According to Jim Gaines, Teddy Chiu screwed up so badly on this picture that Mr Lim wouldn’t allow him to direct another picture. Jim was brought as “superviser” – or, in other words, an uncredited co-director - on Teddy’s next few pictures]

Review from “Return Of The Ninjas” website:

Richard Harrison, best known in B-movie fandom for such films as LA BELVA COL MITRA (BEAST WITH A GUN/MAD DOG, 1977), CHALLENGE OF THE TIGER (1980), BLOOD DEBTS (1984) and a legion of laughable Ninja patchwork flicks “directed” and produced by Godfrey Ho, Joseph Lai and Tomas Tang, stars as Jack Caplan, a tough Vietnam war veteran who finds his wife Diane (Ann Milhench) missing when he returns home. For some odd reason it seems as if every person Caplan meets tries to kill him. But neither the blonde bimbo called Eve (Gwendolyn Hung) nor the brutal ‘Man with the Golden Hand’ (Ruel Vernal) have luck and they end up dead themselves.

The villain behind the mysterious goings-on is a man with the cute name Duffy Collins (Bruce Baron, who appeared in Tsui Hark’s DON’T PLAY WITH FIRE (DANGEROUS ENCOUNTERS: 1ST KIND, 1980) and Ruggero Deodato’s THE ATLANTIS INTERCEPTORS (ATLANTIS INFERNO, 1983)) who has killed Diane because she rejected his advances. Or as he explains it: “When I can’t have her, nobody should.” Bastard. When the body-count rises to ridiculous heights the police chief (Mike Monty, no stranger to B-movies himself; look out for him in THE ATLANTIS INTERCEPTORS, BLOOD DEBTS (1984), NINJA WARRIORS (1985), JUNGLE RATS (1987) and Fulci/Mattei’s ZOMBI 3 (1988)) orders to hunt for Caplan as well. In minute seventy-five a Ninja (Tony Aaron) appears on the scene (don’t ask me why) but Caplan manages to kill him rather easily. Caplan dresses up in the cool Ninja outfit and beards the lion in his den. After he slashes Duffy with his sword in slow-motion FIREBACK ends jaw-droppingly abrupt.

Don’t worry, I haven’t spoiled the film for you, as you won’t care the least bit about what happens, believe me. Apparently, FIREBACK was scripted by Richard Harrison under a pseudonym overnight, so it’s no wonder that this cheap flick is a confusing mess from start to finish. FIREBACK is Filipino B-action without any surprises, dreary, dull, pretty dilettante and without any sense whatsoever. The performances of the cast can only be called awful and they are so listless that I started to ask myself why they even bothered to shoot this flick.

It seems as if FIREBACK was shot in 1978, but the Internet Movie Database states it wasn’t released until 1983 in the Philippines. There’s no pep in the whole eighty-four minutes and the decision to use super slow-motion during a few dramatic moments turns out to be a complete flop and is unintentionally funny. FIREBACK is cheap action nonsense that takes itself way too seriously and so it is a mildly entertaining time-waster at best. Watch BLOOD DEBTS (1984) instead! Teddy Page (also known as Teddy Chiu, Irvin Johnson and Ted Johnson) can definitely do better as he later proved with BLOOD DEBTS (1984) (yeah, that one again) and NINJA’S FORCE (1984). He is also responsible for HUNTER’S CROSSING (1983), BLACK FIRE (1985), PHANTOM SOLDIERS (1987), JUNGLE RATS (1987), BLOOD CHASE (1989), BLOOD RING (1991), plus a few others. If Filipino action trash is your cup of tea, than rent FIREBACK or buy it cheaply. You might enjoy it. Otherwise stay the hell away. I have no idea if the German tape release on the Highlight Video label is uncensored; it’s impossible to tell as the editing is generally horrible. At least there’s a reward for everyone who holds out to the end, in the form of a trailer for NINJA – DIE KAMPFMASCHINE (NINJA APOCALYPSE, 1982).

Richard Harrison’s son Sebastian Harrison on Fireback [from the book Gods In Spandex: A Survivors' Account of 80s Cinema Obscura, Headpress Books 2007]:

My father was very enthusiastic about taking his wife and I to the Philippines. Apparently, he had a good time on his previous trip and thought it would be fun for us. He was right, but I don't think he meant "good time" in the context that I did. I quickly learned that the women-to-men ratio in Manila was 6-to-1 and that Filipino women are extremely friendly--especially to eighteen-year-old Westerners.

Some of the actors in the Philippines were highly unusual. I think that Manila was kind of a haven for them and all Westerners in general - including decrepit, old losers looking to get high and take advantage of fourteen-year-old girls without receiving a jail sentence.

Or worse.

The two actors I got to know very well were James Gaines and Mike Monty. James and I hung out quite a bit. He spoke perfect Tagalog, but he made sure I didn't tell anyone so that he could see what they were saying about us. James was all about having a good time, which was fine with me since I had just finished high school and was essentially on vacation. However, I am not sure that the mothers of his 8-9 children were too impressed by his partying nature.

I had the experience of staying at Mike Monty's apartment complex called "Casa Blanca" which was just across the street from the Manila Midtown Hotel where my father and his wife Francesca were staying.

There was no air conditioning and Manila was just sweltering during that time of the year. I was sleeping on the couch and Mike had to keep the bedroom door open so I could get a bit of air...not to mention a view of Mike's bed and him having sex every chance he could get. I would literally wake up every morning to the sound of him slapping a girl on the ass.

I have never seen or heard of such a prolific sex fiend as Mike in my life. I would estimate that he had sex, on average, with 2-4 different girls a day. Every day he made it a point to go to one of the parks where tons of people would hang out and pick up girls. When Mike spotted a girl--pretty much any girl in terms of looks or age, but the thinner the better--he would crack a huge smile on his face. If and when they would smile back, Mike would swoop in. I went along a couple of times with him, but it was too embarrassing for me to bear--especially when the girl was underage.

Another interesting thing about Mike was his eating habits. He often wouldn't eat for a couple of days, but when he got the chance for a freebie--usually because my father invited him to a buffet--he would eat more than is easily imaginable. The only person who could keep up with him was the actor Paul Smith, whom I personally weighed at our house in Rome at 181 kg.

Still, while Mike had some questionable habits, he was a very nice guy. I saw him about three years ago in Rome and, while not in the best physical shape, he had not lost his zest for women. In fact, I had to witness a miserably failed attempt of him trying to snag a little souvenir for the night.

Ronnie Patterson was an interesting fellow. Around the time of Fireback, I had the impression that the Filipino producers were trying to nurture him into becoming one of their main Western actors. I remember one long and complex action scene that ended with a close up of Ronnie firing a rifle. The cameras rolled and all the stunts, explosives, etc., went well. But when it came time for the camera to tighten on Ronnie squeezing the trigger...nothing. So the director shouted "cut," the arms specialist checked the rifle, it rang a shot with no problem, and they did take two. But on the second take, the same thing happened. The arms specialist was more than confused as the rifle worked perfectly when he tried it.

This went on for another 3-4 takes and everyone was scratching their head. Finally, Ronnie asked, "Do you want me to pull the trigger?!" After a couple of hours of trying to figure out what the hell was going on, apparently Ronnie was too stoned to realize that he should have pulled the trigger. This unfortunately sums up a lot of what was going on in these Filipino movies. In fact, you could cut my father's frustration with a knife while he made these films.

The one scene I had together with my father accidentally turned out well, at least in terms of my acting. I had a cold, and in fact had lost my voice for a few days. The scene involved me delivering a package to my father with a bomb in it. As I say, "See you later!" and walk away, he hurls the package at me and it blows up. Then he starts to question me with the usual "Who sent you?" dialogue. I had a few very short lines. However, during my close up with my father rubbing my collar and questioning me, I drew a complete blank. I think I forgot that we were doing a movie and him talking to me that way intimidated the hell out of me.

Needless to say I began to stutter, and in my mind--and probably on my face--strain for my lines. After a few seconds I finally remembered what I was supposed to say and, relieved, I said my lines. Had I remembered my lines right away I would have just blurted them out, screwing up the timing. Yet thanks to not remembering my lines and straining to say them anyway due to my laryngitis, the scene turned out well. I remember the entire crew applauding my performance while deep down I was thinking, "Little do they know..."

I also had a few other parts in the movie but I was wearing a disguise. Luckily, I was able to make some extra pocket change, as my father had cut me off financially since he didn't approve of my focus on going to bars and picking up girls. That was lucky for Mike Monty as well, as he could hit me up for the bus fare to the park in order to satisfy his sex addiction.

All in all, I think that the vast majority of the actors were there to screw around (literally) and couldn't have cared less about making a movie. Basically, I was temporarily along for the same ride as all these other guys in the Philippines at the time. But the big difference turned out to be that I was seventeen and some of them were forty-seven. Still, for the couple of months that I was there, I met some extremely memorable people and had a very interesting experience.

In terms of filmmaking though, aside from perhaps the directors, the producers, my father, Romano Kristoff, and maybe Bruce Baron, churning out a viewable product was probably the last thing on their mind.

Hunter's Crossing (1983)

1983 - Hunter's Crossing (Silver Star Film Company)

[Filipino production for the export market. Released in Germany as "EinSatzkommando WildGanse", on French VHS as "Les Massacreurs" and "Vietnam Massacre", on Finnish VHS as "Lyomaton Joukko", and on Dutch VHS as "Deadly Hunters"]

NOTE: Most of the Filipino cast and crew have been issued Anglicized pseudonymns

Director Teddy “Page”/Chiu Writer Timothy Jorge Producer [uncredited] K.Y. Lim Cinematography Bob Aaron Music Patrick Wales Editor David Mac Stunts [uncredited] Joe Pampanella Production Co-Ordinator Bob King Production Secretary Lou Grant Field Cashier Dhel Mayers Propsman Peter Fox Production Design Mario Cole Carpenters Jess Cole, Petter Cole, Tom Bismark Grip John McCloud Key Grip Larry Conrad Stillsman Roger Coleman Makeup Artist Sol Maurice Set Manager Sam Brown Assistant Camerman Tom Steele Assistant Director Rey Soul Assistant Editor Eddie Mac Fighting Instructors Rey Soul, Benny Roman 2nd Unit Cameraman Ben Sanders Sound Mixer Ron Jacobs Sound Effects George Patterson Negative Cutter Floyd Anderson Script Editor David Mac Script Girl Mary Mills Assistant Producer Diane Keith Special Effects Mark Collins

Cast Richard Harrison (James Burns), Bruce Baron (Al Hunter), Philip Gamboa (Harris Morell), Don Gordon [Bell] (Max), James Gaines (Tom), Barbara Peers (Lois), David Light (Jamil the Pirate Leader), Pat Andrew (Burns Sr), Tim Bismark, Arturo Estrada (Trainer), Ann Milhench (Tom's Wife), Ann Jackson (Secretary), Lawrence Majors (Max's son), Sam Lee (Yacht captain), Patrick Him (Refugee boat captain), Gabby Ferro (Bocobo), David Anderson (Syndicate boss), Willie Williams (William) Syndicate Girls Biggie Mielke, Sandy McCloud Syndicate Men Gregory Steele, Teddy Burns, Bobby Collins Bar Goons Stephen King, Larry Greene, William Fox Refugees Carol Fong, Kathy Li, Rose Lee, Beth Lee, Mary Lee Pirates “Boy”/Bobby Clinton, Benny Roman, Rey Soul, Michael Peck, Daniel Chau, Dan Langston, Ed Foster, Robert Williams, Donald Kirk, Harry Rolnick, Jack Daniel, Tom Chapman, Leonard Lueras, Dean Barrett

Don Gordon Bell on the making of Hunter's Crossing, from his Korean War Baby blog:

As some of you know, the Korean War Baby, in a past life back in the late 70’s to mid ‘80’s, as Don Gordon Bell, was living in the Philippines. I worked on local Filipino films and on many foreign International films, from big block busters like “Apocalypse Now” to small budget B-movies produced by the king of B-movies Roger Corman and quite a few Filipino film production companies. It was glorious, fun, hard work, feast or famine at times, but never a dull moment. Best years of my life, but some of the worst things I committed during my years of living only for myself, well, you will have to read my E-Book.

“Hunter’s Crossing” a B-movie film released by Silver Star Films was also released as “EinSatzkommando WildGanse” which I think means something Commando Wild Geese. My Facebook friend filmmaker Tony Li posted some photos from the DVD release in Germany. Thanks Tony.

Bruce Baron was the lead, an ex-Vietnam Vet who gets together a few buddies to rescue a rich man’s son who had been kidnapped by Filipino pirates. Philip Gamboa was the main Filipino lead, also one of the rescue team members who knew Bruce’s character when they served in an elite unit in the ‘Nam.

Bruce Baron, Don Gordon Bell, and Jim Gaines

Jim Gaines and I played fellow Vietnam ‘war buddies’ of Bruce Baron, living in the Philippines, living the good life, whoring with beautiful (and some not quite so but very willing!) Filipina women, drinking San Miguel beer and ESQ Tanduay Rhum and cokes everyday (Playing REAL life- ourselves in REEL LIFE). We agree to join our old team leader on this crazy adventure for money and just plain boredom.

Richard Harrison

First we go through a bit of training and conditioning, to get our soft bodies in shape for a rescue mission.

Don, sliding along a rope requires a ‘cup protector’ to prevent injury!

“HOW much are we getting? Why not, got nothing better to do.”

This was a VERY low budget B-movie that had a simplistic story, made up by lots of big booms, tons of special effects, gasoline blasts, dozens of pirates killed, and ‘all the usual schlock factors’ that one pundit claims makes these films “so bad they are good”. My dialog in the whole films could be on 3 pages of script, no wait, I don’t think we even HAD a script, just a basic storyline.

David Light played the pirate leader of the gang. Philip Gamboa was the Filipino who served with us together in the ‘Nam. He knows the island stronghold, where the pirates are since he is a native.

David Light, pirate leader.

Years later, “life imitated art”, when Filipino pirates actually kidnapped tourists, beheading one of them on their own island stronghold in Jolo, off Mindinao in the southern part of the Philippine Islands.

Team members Philip Gamboa, Jim Gaines.

Yes, I died again…going down fighting to the bitter end. I think the rest survive, rescue the boy and remember me in a toast to fallen comrades. Ah, ‘show biz’…

William Wilson's review from his Video Junkie blog:

I can’t believe we are four months into the blogosphere and we haven’t mentioned Richard Harrison. Everyone has a favorite actor and you’ll often hear folks saying, “I’ll watch anything Al Pacino (or Robert DeNiro or Russell Crowe) is in.” Poppycock! Those guys play it safe in their little Hollywood wonderland with multi-million dollar budgets and ever flowing buffets. Give me a real actor, someone who truly suffers for their art. I’m talking about nomadic cinema warriors, who feared no borders when it came to collecting a paycheck. Guys like John Saxon, Chris Mitchum and Richard Harrison. Harrison has braved poor shooting conditions in Italy, Turkey, China, the Caribbean, and the Philippines just to name a few in order to add to his resume of over 100 films. Call me when Pacino, DeNiro or Crowe do that without the luxury of first class. Yeah, I’ll watch anything with Richard Harrison…and that might just be my undoing. See, because of Harrison's "pay me now" nature, his filmography is truly the good, the bad and the ugly.

HUNTER’S CROSSING opens with a group of tourists being captured by some pirates led by a white guy named Jameel. Among the group is rich dude Burns, Sr. and his daughter Lois. The pirates contact Burns, Jr. (Richard Harrison) and demand $5 million dollars for their release. Anyway, Burns, Jr. is apparently either cheap or vindictive as he hires Harris (Phillip Gamboa) to assemble a mercenary team to rescue the captives. The team includes Al Hunter (Bruce Baron), Tom (Jim Gaines) and Mac (Don Gordon Bell). I’m particularly impressed with how he recruits Mac, who is drunk and getting his ass kicked in a bar at the time. Just the kind of guy you want on your team, right? Anyway, the group trains for a bit (with some guy yelling at them) before their mission. Oh, I forgot, pre-mission we get the most random subplots thrown in that scream “we need more running time!” Mac promises his son he will buy a boat and take him fishing when he gets back (it ain’t happening kid); Al gets wrapped up with a gang that he used to be a getaway driver for, killing them with his rocket launcher car; and Tom kills his wife when he finds her in bed with a scrawny white dude (understandable). An odd but welcome detour before we get the main mission where lots of guys get blow’d up.

If you were hoping for some trademark Harrison craziness, this isn’t the film for you. While he and CROSSING director Teddy Page made FIREBACK (1983) around the same time, this is strictly talking head stuff. ‘Tis the price we pay for being Harrisonites. He is essentially deskbound for his 10 minutes of screen time. Perhaps he was getting thrown a bone for the rigors of FIREBACK and BLOOD DEBTS (1984)? You do have to marvel at the fact that the perpetually old Harrison plays someone’s son though. Awesome. This is essentially Gamboa and Baron’s show. This is the first time I’ve seen Gamboa and he is pretty good, looking like a young Tony Ferrer. Baron is a staple in these flicks and is good as always. And by good I mean entertainingly over-the-top. Watch for the bit where he shoots a guy five times and then kicks him for good measure. He had previously been in Tsui Hark’s DON’T PLAY WITH FIRE (1980) and co-starred with Bruce Li in the highly entertaining DRAGON FORCE (1982). I have to marvel at his outfit in the film’s final siege. It consists of boots, khaki shorts, a gun on each hip, and a skimpy top. Hey, wait a sec…that is Lara Croft’s outfit!

Sadly, HUNTER’S CROSSING isn’t going to set your world on fire. In the pantheon of crazy Filipino cinema, it is a level below some of the other Silver Star/Teddy Page classics. The end breakout is pretty standard for the genre with the requisite shootouts and mandatory exploding huts. One thing that made me laugh is the end relying on the group being picked up by a boat at a rendezvous point (naturally, it is late). Why is this funny? Because Harris and Al drove there in their A-Team gimmicked bike and car! Hell, they even get in them during the final chase but then get out of them to run to the pier. Why not, you know, drive that car back to where you brought it from? There is another really funny bit involving Gamboa running out of bullets and offing two guys coming towards him with machine guns by using knives. Yes, these pirates are truly not a bright lot if they can’t figure out to open fire on a guy five feet in front of them as he throws down his gun and pulls out some blades. I will give the filmmaker’s credit for some funny drama (like Harris revealing Lois is his former wife and Burns, Sr. hates him; might make that rescue kind of awkward) and having the gall to off three out of the four team members. It is an okay time killer, but not the best. If, however, you want prime Filipino Harrison, definitely check out FIREBACK (which co-stars Baron as a lovesick villain named Duffy) and BLOOD DEBTS. Both films have him in the lead and brandishing big guns that make people explode. Take that Al Pacino!

Review from Cinemageddon:

Fellow fans of bad movies should certainly derive a few chuckles from this Silver Star productions release.

The story concerns a group of mercenaries who are deployed to rescue some hostages held somewhere in the Philippines....or is it Vietnam?

A heady combination of poor dubbing and decidedly odd structuring make this a highly enjoyable affair from the out. Take for instance the bizarre sub plots that suddenly (and bafflingly!) crop up out of absolutely no where in the middle of the films running time (!); After having undergone a rigorous training regime to prepare for their impending dangerous mission one of our hero's (B-movie regular Bruce Baron) completely out of the blue and without any form of rational explanation decides to serve as a getaway driver for some bank robbers(!!!) Er?! What the hell?! Such a bizarre (and frankly irrelevant) plot development had me initially believing the scene was some sort of flashback or something! But, it gets even worse when another one of our boys (James Gaines aka Jim Gaines) is shown walking in on his wife having nookie with her lover and promptly blows the offending chap dead! Erm....OK.....I can only assume that the above sub stories (which incidentally end just as abruptly as they began!) were solely included in order to bump up the movies running time. Certainly they are absolutely redundant in forwarding the story in any way, shape or form. Still, for what it's worth, as I said earlier, they do add a certain strange charm to the proceedings in their quirkiness and sheer irrelevance to the story.

Add to this charm the somewhat daft forms of transport our hero's employ when they eventually get around to rescuing the hostages. We have a bullet proof trike and a souped up automobile!!! Yes, I kid you not! I've got to say though, although this may sound an odd choice of rescue vehicles, they sure come well armed - fully loaded with missiles in fact!

Credit where credits due, the scenes in which our hero's fire the aforementioned missiles at the bandits are undoubtedly the best in the entire movie and are actually, believe it or not, really quite cool! (And probably took most of the movies budget to render!)

This is one of those movies that goes down perfectly when one invites over some friends and imbibes copious amounts of alcohol.....great stuff!