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Plot: Waldemar Daninsky becomes the subject of a mad scientist

The Mark Of the Wolfman (1968) made Paul Naschy the new promise of Spanish horror. Lucrative as the first El Hombre Lobo feature was follow-ups were bound to follow. The first of these was the Universal Monster/science fiction hybrid Assignment Terror (1969) with a cadaverous Michael Rennie and German import/erstwhile Bond girl Karin Dor. The alleged French co-production Nights Of the Werewolf (1968) (with a cast including Peter Beaumont, Monique Brainville, Helene Vatelle, and Beba Novak) is widely believed to be a fabrication on Naschy’s part to bolster his then-nascent career. According to statements by Naschy at the time he spent one week of a five-week production schedule in France shooting his scenes and director René Govar tragically died in car accident shortly after. There were no surviving prints, and historical information is practically non-existent and what little is known is nebulous at best. The history surrounding The Fury Of the Wolfman (1970) is extensively documented and reinstated the Waldemar Daninsky franchise to its gothic horror roots. The Fury Of the Wolfman is indeed infuriating mostly because it should have been a lot better than it ended up being.

The third chapter in the continuing saga of cursed Polish nobleman Waldemar Daninsky proved especially difficult. Once again based upon a screenplay by Paul Naschy (as Jacinto Molina Álvarez) and produced by Maximiliano Pérez-Flores and César Gallego, The Fury Of the Wolfman was fraught with trouble from the beginning. For undisclosed reasons Enrique López Eguiluz, director of the rustic The Mark Of the Wolfman (1968), was fired with only a minimum of footage in the can. Basque director José María Zabalza - whose reputation as a bon vivant bohemian and rank pulp specialist preceded him at that point - was hired. Zabalza spent the production in a state of constant inebriation leaving Naschy to direct the feature. Reportedly the on-set chaos that Zabalza left in his alcoholic state had Nashy bursting in fits of tears seeing how awful the production was turning out. Adding further insult to injury Zabalza’s 14-year old nephew was allowed to rewrite the script. Zabalza’s non-involvement in directing can be traced back to 1969 when he had commenced pre-production on Bullets over Dallas (1970), Twenty Thousand Dollars for a Corpse (1971), and The Arizona Rebels (1972), three spaghetti westerns that pooled the same cast and crew that the Irunés was slated to write/direct. The Fury Of the Wolfman is widely considered to be the worst in the Waldemar Daninsky El Hombre Lobo canon.

"When the heliotrope starts growing among rough rocks and the full moon shines at night,” the narrator booms, “in a certain area in the earth, a man turns into a wolf.” Not that any heliotropes will be seen or mentioned, or that they will have any major or minor significance in the plot, anywhere in the next 90 minutes. At least it’s a cool start. In The Fury Of the Wolfman Waldemar Daninsky (Jacinto Molina Álvarez, as Paul Naschy) is a professor at the university of Kingsburg, California. On an expedition in Himalayas his group is attacked by a Yeti who savages everybody of his party and leaves Daninsky with a gash on his chest. Always the scientist Daninsky discounts the possibility on a whim, despite the visible evidence. "It was a Yeti. But that's impossible. I'm a scientist and these things don't exist. It was a hallucination. That's all." Injured Waldemar wanders the frozen wasteland until he happens upon a Tibetan monastery. A monk takes him in and treats his injuries. “Pentagram, pentagram!” screams the sufficiently frightened monk while Daninsky’s wound is actually pentagonal shaped. Once recovered Daninsky returns to his home in the US. At home he greets his wife Erika Wilson (Pilar Zorrilla, as Diana) and retreats to the bedroom, his sleep haunted by the horrible Tibetan incident. At university he runs into an old colleague, and former lover, of his by the name of Dr. Ilona Ellman (Perla Cristal). Ellman has developed a revolutionary new brainwave theory and is set to test it in her laboratory. As a former associate and lover she inquires after Daninsky’s emotional state, all while harbouring an unspoken and unrequited love for the pint-sized professor.

As he’s leaving the faculty Waldemar is handed a letter that he goes to read in the comfort of his car. From across the street Neville Yates (Fabián Conde, as Fabian Conde) watches on as Daninsky becomes enraged as he reads that his wife was involved in an affair. With the brakes on his vehicle rigged he crashes violently in a nearby tree and struggles, wounded and bleeding, back to his home. Finding nobody there he waggles to Ellman’s opulent castle. He’s patched up by his old flame, and finds that Ilona has a live-in assistant called Karen (Verónica Luján, as Veronica Lujan), whose misplaced loyalty to her tutor almost borders on the fanatic. With his wounds cared for Waldemar returns to his home when a full moon starts to rise. Upon turning into a werewolf Daninsky attacks and graphically kills his duplicitious wife Erika and makes short work of her lover Neville only moments later. Still overcome with rage Waldemar hurries outside into a particularly wild thunderstorm. Somehow he becomes entangled in a severed electric cable and is electrocuted. Police detective Wilhelm Kaufmann (Miguel de la Riva, as Michael Rivers) is the first on the scene and discovers the cut brake line. An investigation is opened and some basic sleuthing leads him to the sudden disappearance and death of esteemed Kingsburg professor Waldemar Daninsky.

Ellman, Karen, and her bevy of white-clad bosomy, mini-skirted science belles (Victoria Hernández and Diana Montes) waste no time in disinterring Daninsky’s remains. As the doctor and her vixens drag the professor’s cadaver to a cellar dungeon a caped, white masked figure (Francisco Amorós, as Francisco Almoros) stalks the shadowed hallways observing what happens in the castle’s bowels. As it turns out the deepest dungeons are filled with subjects of Ellman’s failed past experiments, male and female alike. Karen’s reporter beau Bill Williams (Mark Stevens) takes note of her sudden absence and he and the police detective smell something is afoot with the recent spate of mutilated bodies that seem to turn up everywhere. Ellman entrusts in Karen that her she can bring Waldemar back from the dead with the help of science. According to her most recent findings she’ll be able to mind control the subjects of her experiments. After a wolven Daninsky has slain several more innocent townspeople Karen reveals to Daninsky that Ellman has power over his lycanthropic form thanks to her mind control. After some more back and forth in the castle’s deeper reaches Karen and Waldemar discover that the masked and disfgured figure is Helmut Wolfstein, a neurologist infamous for his experiments on unwilling subjects, and that Ilona is his daughter Eva.

A cursory read through Ilona’s personal journal does indeed confirm these findings. Putting one and one together Daninsky deduces that Erika was a subject in Ellman’s mind control schemes and that the entire thing was just a ruse to have her reunited with her former flame. Ilona returns to the château and with Waldemar and Karen right where she wants them, the doctor unveils her diabolical plans. While the two of them were putting the pieces together Ellman resurrected Erika, now too a lycanthrope due to Daninsky’s earlier savaging, and Ilona forces both werewolves to fight each other. Daninsky slays his former wife and is instructed by Ilona to kill Karen, who she has now bound in chains. Waldemar, finally able to surpass Ilona’s mind control, attacks the doctor gashing her across the face and throat. Ellman is able to reach for her Luger firing two silver bullets into the wolven Waldemar, then crawls on him and kisses him goodbye. By this point Williams and the detective have made their way into the castle and free Karen from her chains. The body of the vertically-challenged Polish nobleman is carted off to the coroner’s office. Supposedly to be examined and be given a final restingplace.

While the existence of French co-production Nights Of the Werewolf (1968) and the veracity of Naschy’s claims surrounding it remain dubious at best, the main plot was deemed good enough for The Fury Of the Wolfman. Compared to the more rustic The Mark Of the Wolfman (1968), The Fury Of the Wolfman suffers from both appalling direction and cinematography from Leopoldo Villaseñor. Under the circumstances Naschy did well enough, but the colourless second unit direction by Rodolfo Medina – whose only other credit of note would be Juan Piquer Simón’s Jules Verne adaptation Journey to the Center of the Earth (1977) – doesn’t help. The castle interior scenes are frequently underlit and the entire colour scheme lacks the vivacity of The Mark Of the Wolfman (1968). Surprisingly Villaseñor would redeem himself with The Wolfman vs the Vampire Woman (1971).

The score by Ángel Arteaga and Zabalza’s wife Ana Satrova comprises of recycled stings and cues from The Mark Of the Wolfman (1968) and original new music, all of which are more often than not unsuitable for the scenes in which they appear. The production went overbudget and as a cost-cutting measure stock footage from The Mark Of the Wolfman (1968), along with additional scenes with a wolfman stunt double that didn’t match any of the existing footage, were inserted. It wasn’t clear who was going to edit the production and at one point the master print disappeared. The Fury Of the Wolfman had a hard time finding a distributor and at one pre-release screening for a potential distributor Zabalza was found urinating in a gutter in front of the theater. It was finally picked up for release by AVCO Embassy Pictures in 1973 before gigantic losses nearly bankrupted the company and Robert Rehme took over as president.

Even for Naschy standards the cast were relative nobodies and the most recognizable names were reliable second-tiers at best. Perla Cristal was in The Awful Dr. Orlof (1962) and The Secret Of Dr. Orloff (1964) from back in the days when Jess Franco actually showed some mild promise as a filmmaker and when appearing in one of his productions wasn’t a potential career killer. Cristal had figured in the amiable Arabian Nights adventure 1001 Nights (1968) (with Luciana Paluzzi), and was a regular in spaghetti westerns. Victoria Hernández would play another supporting part in Amando de Ossorio’s The Loreley’s Grasp (1974). The only credits of note for Verónica Luján were León Klimovsky’s Commando Attack (1968) and Feast Of Satan (1971). Javier de Rivera was a regular in Spanish cinema, often playing figures of authority or law enforcement. Mark Stevens was the obligatory faded American star making a living in European exploitation. As always a domestic and international version were shot, with the Spanish version eschewing all the gratuitous nudity and gore of the international version. No wonder Paul Naschy all but denounced The Fury Of the Wolfman as it wasn’t exactly the finest hour for Waldemar Daninsky, his El Hombre Lobo. Thankfully the series would find a second lease on life with The Wolfman vs the Vampire Woman (1971).

Plot: woman is targeted for termination by cybernetic adversaries from the future

As if Nemesis 2: Nebula (1995) wasn't enough of an insult Nemesis 3: Time Lapse (Prey Harder in certain territories) was stitched together from excess footage of the first sequel, with an additional 11 production days. Where Nemesis 2: Nebula (1995) stole from obvious sources, Predator (1987) and Rambo (1985) for the most part, it at least attempted, however meagerly, in some way, to continue the franchise in a new setting. Nemesis 3: Time Lapse has no such aspirations, and shows no interest in building on the initial promise of the original Nemesis (1992) with Olivier Gruner.

Battered and bloody Alex Raine (Sue Price) wakes up in the East African desert with no recollection of what happened to her. She retraces her steps and encounters Farnsworth 2 (Tim Thomerson) who offers to help her get medical attention. Farnsworth 2 gives her "a shot of endo" activating a latent memory warning her to not let Farnsworth 2 get her DNA. She quickly turns the situation around, and kills Farnsworth 2 with his own gun. Alex then passes out as past memories start to wash over her...

After the destruction of Nebula (Chad Stahelski) Raine was taken in by local rebel troops. Once cyborg insurgents wipe out the pocket of rebellion Alex' necklace starts glowing and a light appears in the distance. Following the light source, Alex runs into her half-sister Ramie (Ursula Sarcev) who explains that she has 20 half-sisters, but that Raine's the only one able to procreate, and thus start a genetically enhanced breed able to withstand the cyborg oppressor. Farnsworth 2 and a group of cyborgs imprison Ramie and her sisters and Alex teams up with Edson (Norbert Weisser) and Johnny (Xavier Decile), a somewhat damaged descendant of Max Impact from Nemesis (1992). Edson and Johnny are captured in the chaos when bounty hunting twins Lock (Sharon Bruneau) and Ditko (Debbie Muggli) raid the compound where a reprogrammed Nebula is massacring cyborgs. Alex manages to rescue her rebel friends, but then Farnsworth 2 sends a drone that destroys their jeep leaving Alex battered, bloody, and without memory.

Nemesis 2: Nebula wasn't the most graceful of sequels, but it at least attempted to steer the Nemesis franchise into a new direction. Nemesis 3: Time Lapse is the worst kind of sequel as it ignores both the original and the first sequel, and seems in no hurry to actually forward the narrative. As a stand-alone action movie it's functional enough, but it's not as if Nemesis 2: Nebula had raised the bar particularly high to begin with. Instead of setting up a plot device to let Raine get back to her own time, or at least send her on a mission to stop the cyborg uprise before it begins Nemesis 3: Time Lapse does neither. It's so aggravating and creatively regressive that it actually diminishes what little Nemesis 2: Nebula got right. Things wouldn't improve with Nemesis 4: Death Angel later in the year.

The new additions to the cast are hit-or-miss. Sharon Bruneau and Debbie Muggli are fun in their roles as wisecracking bounty hunter twins, but their little subplot is never developed enough to be of any importance. The same goes for Ramie, Johnny, and the 20 half-sisters which really must have been something of an afterthought. Under normal circumstances they could, or should, have been the crux to some sort of plot resolution - but Albert Pyun was apparently in no rush to tie up any loose ends, or develop any character beyond the rough contours of their designated archetype. The Ramie, Johnny, and the 20 half-sisters subplot is interesting enough to build an entire new Nemesis feature around, but that sadly never happened. The action is explosive enough but none of the set pieces are particularly involving. Especially in light of how the greater cast of villains are reduced to nothing more than one-note cannon fodder for heroine Alex Raine.

Not that the Nemesis series was ever known for its special effects work, but Nemesis 3: Time Lapse takes a plunge in that department as well. The pyrotechnics, stunts, and rubber suits are decent enough, but it are the visual effects that make Nemesis 3: Time Lapse the eyesore that it is. Instead of practical - and prosthetic effects there's now an excess of badly super-imposed, Windows 95 post-production effects, of which the neon glow over the antagonists’ eyes, the ripple effect on the dune buggy, and the morph fx used for shapeshifting characters are especially heinous. The lengthy flashback that makes up with bulk of the feature comes with a blue filter that probably only adds to the confusion. There's no shortage of explosive action scenes and the plot, or lack thereof, never gets in the way of the gunfire action. Pyun might not be much of a writer, but he always shoots action scenes well despite a lack of budget. Sue Price always handled herself well during action scenes, and here she does also. Price is the last person to blame for the mess that the Nemesis franchise became.

Somewhere in Nemesis 3: Time Lapse there's a halfway decent action movie. There's no shortage of action, for one thing. Pyun might not be much of a writer, but he always lenses action scenes well no matter how small the budget. Had Nemesis 3: Time Lapse focused on a battle of wits and endurance between the bounty hunter twins and Alex with a few supporting characters acting as allies or cannon fodder, and Ramie and her tribe of half-sisters as the prize it could have been so much more, and so much more effective. As it stands Nemesis 3: Time Lapse is the busiest of the four Nemesis episodes but has nothing to show for it. Just like Nemesis 2: Nebula before it Nemesis 3: Time Lapse doesn't feel much like a sequel, and it would probably have been better as a stand-alone feature. Not that Nemesis sequels would get better with time. In fact the opposite is true.