Kizil Maske (1968 Dir. – Tolgay Ziyal)

Kizil Maske

aka The Red Mask aka Turkish Phantom

1968Sinematurk Link
Directed by Tolgay Ziyal
Written by Alpay Ziyal


Another Turkish version of the Phantom, and another film called Kizil Maske! It looks like Turkey was so busy ripping off intellectual property that they started double-dipping! A different movie means everything changes, so now Kizil Maske is actually in Africa like the comic. We know this thanks to the very racist African natives who beat drums. Kizil Maske’s costume is completely different, and now he has a loyal dog companion instead of several employees. Kizil Maske changes into three costumes through the course of the film, which is two more than the other Kizil Maske.

As I mentioned in the last Turkish Phantom review, there are three Turkish versions of the Phantom, two of which are entitled Kizil Maske and were released in 1968, the third is KIZIL MASKE’NIN INTIKAMI, which came out in 1971. As the third movie has little to no information about it, I cannot say if it is directly related to either of the originals. As this is the second Kizil Maske, it is sometimes designated Kizil Maske 2 or Kizil Maske (2) when both are listed. We live to be confusing, so we won’t. Nyeh! Director Tolgay Ziyal also directed the Turkish version of Captain America called Binbasi Tayfun (1968). His sister Tora Ziyal was Gul Dukat’s daughter, but was killed by Damar during the Dominion retreat from Terok Nor. And now you know the rest of the story.

If you want to learn more about the real Phantom comics, go to Google or something, we have better things to do than be your personal information specialists. Okay, maybe we don’t, but we still ain’t gonna do your work for you! Just kidding. Time for some more patented Phantom Phacts: The Phantom’s Skull cave is guarded by members of the Bandar tribe, who shoot people with poisoned arrows. Totally not racist. The Phantom’s costume is colored blue in Scandinavia, red in Italy, Turkey, and formerly in Brazil, and brown in New Zealand. Celebrate diversity. Kit Walker is the given name of the current Phantom (Number 21). One more Phantom and they go bust, so the Dealer will win. There is a Phantom TV series that was produced in India in 1997 called Betaal Pachisi. Okay, that’s enough Phantom Phacts. Thank goodness.

With a whole new cast, we get a whole new plot, in which Kizil Maske is recruited to help after something gets stolen and it turns out to be a conspiracy. What is stolen? I have no idea. It is very hard to tell, and the lack of subtitles kept the plot from being explained. So my theory is they stole the MySQL database for TarsTarkas.NET, because that is very valuable and worth hiring a super hero from another continent to sort out the mess. I remember when The Jokester stole our database in 2005, luckily we hired Starman to kick his butt!

So the plot explanation will be filled with conjecture, speculation, and outright lies due to the lack of subtitles. Just like usual! At TarsTarkas.NET, we don’t need no stinking subtitles!

Kizil Maske aka Fantom (Ismet Erten) – They will call him both Kizil Maske and Fantom in this film, but we will stick with Kizil Maske because it is used most often, and using a consistent name is less confusing. He is a different character than the other Kizil Maske, most noticeably he keeps his secret identity secret, instead of parading around his face like an idiot. He also has a completely different costume, and a secondary costume for detective work (plus a aquatic third costume seen at the end.) Got to make those different actions figures. Kizil Maske brings his faithful dog Sheeta with him, because dogs are cool.
Diana (Nebahat Çehre) – Diana is some hot chick who knows Kizil Maske somehow, gets him hired, and gets kidnapped by the bad guys who are really people she trusts. Then Kizil Maske leaves her to go back to Africa. Sorry, Diana, you were just this week’s woman.
Semih Bey (Erol Tas) – Semih Bey is a friend of Diana and involved in the plot somehow. His house had a safe that gets robbed, you see. Erol Tas not playing the villain? That can’t be right!
Gülgün (???) – He is sleepy a lot. He also uses a gun because he is one of the villains in disguise. Not that I was fooled. You can’t trick me, Gulgun! I see through your niceness. Just handcuff yourself and go to the police station.
Ahtapot (???It is a Mystery!!??) – The evil villain who is secretly one of the other characters! Another film with a mysterious bad guy who’s face isn’t seen (because he is a main character) with a hot babe in skimpy clothing. We have seen this before. All he needs is a cat…
Crazy Girl (Gulgun Erdem) – Ahtapot’s main squeeze, and a bona fide psychopath. Enjoys hanging out in a bikini, petting the cat, and burning tied up girls with cigarettes! She also enjoys getting killed by her boyfriend, at least I hope so because that’s what happens…
Cat (???) – YES!! All villains need a cat! Ahtapot became 10% cooler, which I admit only puts him at 3.28% cool, but still… The cat is so cool he just gets petted by the hot chick all day. Yes, this film has hot chicks petting pussy! (Here come the weird Google search strings…) The secret joke there is cats like to play with string. Okay, it isn’t a joke, but just pretend it is.
Sheeta (???) – Sheeta (I think that is the name) is Kizil Maske’s loyal dog, who doesn’t really do anything in the film. I believe he is supposed to be the mountain wolf named Devil from the comic strip.

Thomas Kinkade’s Christmas Cottage

We reported a while ago about a Thomas Kinkade movie that sounded like it would be complete garbage. Guess what?

By all accounts, this movie is a celluloid armpit of crap. You can buy it on DVD at Target, which is where I became reminded of its existence. Thomas Kinkade is a hack who signs his name to paintings by lots of random artists, get sued, and gives out memos to studios making horrible demads to make doomed projects even worse than usual. Vanity Fair got a hold of his memo.

Here is an example of Kinkade awfulness:
Kinkade Nascar
It makes me want to vomit red, white, and blue.

The sixteen guidelines for creating the “The Thomas Kinkade Look”.

1) Dodge corners or create darkening towards edge of image for “cozy” look. This may only apply to still imagery, but is useful where applicable.

2) Color key each scene to create mood, and color variation. When possible, utilize cooler tones to suggest somber moods, and warmer, more vibrant tones to suggest festive atmosphere. In general, create a color scheme for each scene that can be accentuated through filtering, DI treatments, or through lighting. Most of my paintings feature an overall cool color envelope, into which warm accents are applied.

3) Create classic compositions. Paintings generally utilize a theme and variation compositional motif. Heavy weighting of the image towards one side, with accented areas of interest balancing it on the other side. Allow the eye to wander into the scene through some entry point. Be aware of where the viewer is standing at all times. Utilize traditional eye levels for setting the shot — that is, no high vantage points, off-kilter vantage points, or “worms eye view” vantage points. Generally focus on a standing adults viewpoint of the scene at hand.

4) Awareness of edges. Create an overall sense of soft edges, strive for a “Barry Lyndon” look. Star filters used sparingly, but an overall “gauzy” look preferable to hard edge realism.

5) Overall concept of light. Each scene should feature dramatic sources of soft light. Dappled light patches are always a positive, glowing windows, lightposts, and other romantic lighting touches will accentuate the overall effect of the theme of light.

6) Hidden details whenever possible, References to my children (from youngest to oldest as follows): Evie, Winsor, Chandler and Merritt. References to my anniversary date, the number 52, the number 82, and the number 5282 (for fun, notice how many times this appears in my major published works). Hidden N’s throughout — preferably thirty N’s, commemorating one N for each year since the events happened.

7) Overall sense of stillness. Emphasize gentle camera moves, slow dissolves, and still camera shots. A sense of gradual pacing. Even quick cut-away shots can slightly dissolve.

8) Atmospheric effects. Whenever possible utilize sunset, sunrise, rainy days, mistiness — any transitory effect of nature that bespeaks luminous coloration or a sense of softness.

9) A sense of space. My paintings feature both intimate spaces and dramatic deep space effects. We should strive for intimate scenes to be balanced by deeper establishing shots. (I know this particular one is self-evident, but I am reminded of it as I see the pacing of the depth of field in Kubrick’s “Barry Lyndon”.)

10) Short focal length. In general, I love a focal plane that favors the center of interest, and allows mid-distance and distant areas to remain blurry. Recommend “stopping down” to shorten focal lengths.

11) Hidden spaces. My paintings always feature trails that dissolve into mysterious areas, patches of light that lead the eye around corners, pathways, open gates, etc. The more we can feature these devices to lead the eye into mysterious spaces, the better.

12) Surprise details. Suggest a few “inside references” that are unique to this production. Small details that I can mention in interviews that stimulate second or third viewings — for example, a “teddy bear mascot” for the movie that appears occasionally in shots. This is a fun process to pursue, and most movies I’m aware of normally have hidden “inside references”. In the realm of fine art we refer to this as “second reading, third reading, etc.” A still image attracts the viewer with an overall impact, then reveals smaller details upon further study.

13) Mood is supreme. Every decision made as to the visual look of each shot should include the concept of mood. Music can accentuate this, use of edges can accentuate this, atmospheric effects accentuate this, etc.

14) The concept of beauty. I get rid of the “ugly parts” in my paintings. It would be nice to utilize this concept as much as possible. Favor shots that feature older buildings, ramshackle, careworn structures and vehicles, and a general sense of homespun simplicity and reliance on beautiful settings.

15) Nostalgia. My paintings routinely blend timeframes. This is not only okay, but tends to create a more timeless look. Vintage cars (30’s, 40’s, 50’s, 60’s etc) can be featured along with 70’s era cars. Older buildings are favorable. Avoid anything that looks contemporary — shopping centers, contemporary storefronts, etc. Also, I prefer to avoid anything that is shiny. Our vintage vehicles, though often times are cherished by their owners and kept spic-n-span should be “dirtied up” a bit for the shoot. Placerville was and is a somewhat shabby place, and most vehicles, people, etc bear traces of dust, sawdust, and the remnants of country living. There are many dirt roads, muddy lanes, etc., and in general the place has a tumbled down, well-worn look.

16) Most important concept of all — THE CONCEPT OF LOVE. Perhaps we could make large posters that simply say “Love this movie” and post them about. I pour a lot of love into each painting, and sense that our crew has a genuine affection for this project. This starts with Michael Campus as a Director who feels great love towards this project, and should filter down through the ranks. Remember: “Every scene is the best scene.”

The list above is not all-inclusive, but is a good starting point for internal dialogue. These guidelines are not listed in order of importance, but are dictated off the top of my head. After painting for nearly 40 years, I still wake up every morning daydreaming about new ways to make paintings. Creating a movie is a natural extension of the picture making process, and hopefully my catalog of visual paintings, along with my visual guidelines in this memo will provoke dialogue, experimentation, and a sense of over-arching visual purpose.

Kizil Maske (1968 Dir. – Çetin Inanç)

Kizil Maske

aka The Red Mask aka Turkish Phantom

1968 SinemaTurk Link
Directed by Çetin Inanç

The Phantom was pretty much the first costumed super hero to have a daily strip in the newspapers. Created by Lee Falk in 1936, the strip continues yet today. The Phantom’s base of operations is the Skull Cave located in the African nation of Bangalla. The Phantom passes down his mantel from father to son for several generations. There is a 1943 serial, which is probably the inspiration for these films, as well as an unofficial follow-up The Adventures of Captain Africa, which was originally going to be a Phantom serial until it was discovered they didn’t have the rights anymore! Check your contracts before you pour money into a project. This is your tip of the day. More information on The Phantom can be found on the internet, maybe you should Google it or something. This isn’t a website that gives you stuff on a silver platter, it is TarsTarkas.NET!

Okay, fine, here is some more Phantom Phacts for you: The Phantom was created by Lee Falk after the success of Mandrake the Magician (who also appeared unauthorized in a Turkish film where he fought Kilink: Mandrake Killing’e Karsi), Falk continued to work on the strip (with brief interruptions) until his death in 1999. The Phantom was the first superhero to not have his pupils show up when wearing a mask. The Phantom operates out of the Skull Cave, and all the previous Phantoms are buried there. Never leave a Phantom behind is their motto. Semper Phantom. The Phantom has three helpers, a mountain wolf called Devil, a horse named Hero, and a trained falcon named Fraka, who must love Battlestar Galactica. He also has dolphins, but dolphins are only good as bonus meat in tuna cans. The current Phantom is #21. The Phantom has two rings, one on each hand. One ring is used to mark his friends, while the second marks his enemies (marks made by punching the enemy in the face!) I am not sure how the friend ring marks work, but I am guessing not the same way.

There are three Turkish versions of the Phantom, two of which are entitled Kizil Maske and came out in 1968. If you think that is confusing, just remember that most of this information I had to decipher from articles written in Turkish! This is the first Kizil Maske, and the other 1968 one is sometimes designated Kizil Maske 2 or Kizil Maske (2). The second film seems to be made to try to bite off the first one, in some sort of Antz/A Bug’s Life or Deep Impact/Armageddon contest. The third Kizil Maske movie is KIZIL MASKE’NIN INTIKAMI (The Phantom’s Revenge), which came out in 1971. As the third movie has little to no information about it anywhere, I cannot say if it is directly related to either of the originals. If you have a copy, send it to me, because that will save me a lot of time looking for it. We are all about being lazy here at TarsTarkas.NET.

This entry was produced, directed, and written by Çetin Inanç, the protege of Yilmaz Atadeniz (who gave world the Kilink films.) Inanc went on to produce a whole ton of Turkish films, both craptacularly awesome superhero fair like this, and more modern stuff that includes violent action films. Kizil Maske translates to Red Mask, in case you were wondering. Remember how in old serials fights would break out all the time randomly, and last like five minutes? That’s pretty much this film. Long fights, lots of manly action, and Turkish men being men. No subtitles, either, because who needs those? At TarsTarkas.NET, we don’t need no stinkin’ subtitles! It is not like you need a flow chart to follow the plot: The bad dudes are bad, and the Phantom punches them for an hour or so. The end.


Let’s meet our exciting cast:

Kizil Maske ‘The Fantom’ (Irfan Atasoy) – Kizil Maske comes to Turkey from Africa to beat the crap out of bad dudes who are up to no good, making trouble in the neighborhood. Kizil Maske gets in fight after fight after fight and Memo gets scared. But Kizil Maske saves the day instead of moving to Bel Air, because that is the coward’s way out. Kizil Maske doesn’t bother to keep his real face hidden, which is pretty weird at times. But you get used to it. Irfan Atasoy was in a lot of the Turkish pulp films including two Kilinks, Casus Kiran, Kara Cellat, and Maskeli Seytan.
Sezer (Sezer Güvenirgil) – Daughter of the Professor, because all wizened old professors have incredibly hot daughters who date heroic super hero types. Thus, she is the love interest! Gets kidnapped, because that’s what happens to women in Turkish films.
Panter (Faruk Panter) – Hercules is alive and working for Kizil Maske. As Robin to Kizil Maske’s Batman, Hercules gets into scrapes and battles along side his friend, beating up countless goons and creeps. I am guessing he is named Panter because he pants like a dog while fighting his foes. Or the fact he doesn’t wear pants. Either one.
Memo (Sami Hazinses) – A comic sidekick/butler character who is like Alfred, except incompetent. Too bad for him. He is our comic relief, but in times like these relief is the last thing you want. I’d prefer Turist Omer over this guy.
The Professor (????) – The Professor who has created a magic formula that makes plants grow o full size with just a drop. Thus evil dudes want to kidnap him, for some reason. Maybe they work for some evil agribusiness. He may be named Professor Bennin, but then may be not, as it is very hard to decipher that crazy moon language the Turks speak in. I am not sure who the actor is.
Danyal (Ahmet Danyal Topatan) – A bad guy who wears a goofy hat most of the time. Helps Al Kapon Arif kidnap and kill all over Turkey. He is secretly a cop who is good, so don’t hate him too much. And spoilers.
Al Kapon Arif (Yildirim Gencer) – Head bad guy. I don’t know if he is supposed to be the real Al Capone or just an admirer. He is evil, and also tries to rape girls on trains. Because he is evil. Yildirim Gencer is in so many films your brain will explode. To prevent damaged craniums I am not listing any here.
Suzi (Suzan Avci) – A bad woman who is bad. Because even the evil dude needs a woman. There is someone for everyone, even Match.com has a section for women looking for criminal masterminds. Suzan Avci was in several of the Kilink films and a billion other films, sometimes being the hot evil babe, and sometimes just the hot babe.

RiffTrax Trip Report – X2: X-Men United

Just when you thought it was safe to be a mutant, the X-Men return! The original X-Men RiffTrax was one of the first dozen or so, and was the first appearance of Bill Corbet in a RiffTrax, IIRC. He and Mike Nelson soloed that one, and both of them are back along with Kevin Murphy for the second movie in the mutant franchise. This time, questions are answered, schools are invaded, white houses are bamfed, people are frozen, and Magneto is still evil.

We continue the CEREBRO/MAGNETO jokes from Mike that filled the original RiffTrax, and add to them jokes about smurfs, naked blue chicks, Captain Picard, and a certain mutant actor’s musical career.
Particularly good riffs include a callback to the terrible The Happening, Lemon drink, inconsistencies in mutant powers, and body counts.

While not the best RiffTrax I have heard, it was pretty entertaining and I enjoyed it. The Riff was aided by the fact the movie is entertaining on its own, I can’t wait until the third installment of the trilogy, because that is the film in the franchise deserving a butt kicking. Stop by RiffTrax.com and pick up a copy of this Riff.

x-men 2 rifftrax

RiffTrax Trip Report – The Happening

So the RiffTrax for The Happening is out, and thus gave me a reason to finally see the M. Night Shyamalan movie about killer plants and Mark Wahlberg.

The Happening has the distinction of being a movie about plants who leak an airborne toxin to kill people, because people are a bunch of douchebags who pollute the planet, kill bees, and spend lots of the film staring vacantly into space. This film is unbelievably bad, and the longer it goes, the worse the movie gets. The only likeable characters all die, and instead we have to follow the complete bore Mark Wahlberg is playing as he wusses his way around the East Coast. Mark is joined by Zooey Deschanel, who cannot act at all and spends most of the film staring with wide eyes. Rather disturbing. The third person in the main group is the daughter of John Leguizamo’s character, played by Ashlyn Sanchez, who is a small girl and thus Shyamalan gives her odd camera angles to emphasize how this is extra traumatic to her, even though the movie is boring. The likable characters such as John Leguizamo, the Hot Dog guy, the Army guy, and the two kids who get shotgunned all manage to die quickly. Everyone who lives does the dumbest things over and over again, to the point where you want them to die, but the movie hates you and keeps them alive. Up yours, The Happening. The film is filled with incorrect science on evolution and plant communication, plus just says “we’ll never know because it was nature” as an answer to almost everything. Even though the film already answered the question like twenty times in the film. Look for Dante from Clerks showing up as a jeep driver who has a need for speed and not wearing seatbelts.

A film like that would be quite painful by itself, but luckily we have Mike, Kevin, and Bill to keep us company. Thank goodness for that! From opening references about What’s Happening and stretching Deschanel, to constant breaking into songs and riffing on the terrible camera angles, fun times for all. Go to hell, plants!

Remember to run from the wind, because the wind is evil. And plants are evil, but it is the wind you run from. The movie tries to have jumpscares with wind! This movie is terrible. But the RiffTrax is golden. Stop by RiffTrax.com and pick it up, you’ll be glad you did, once you get over the fact you have to watch The Happening.

The Happening
Happening
Happening wind

Seriously, this movie is TERRIBLE!