The Hidan of Maukbeiangjow

Plot synopsis:
Kaspar (Ele Grigsby) is partnered with Detective Sam Trowel (Hugh Smith). he locates the hideout of a kidnapping and drug ring that Trowel has been unable to find because he is too focused on procedures. Trowel hires safecracker Frederick Fenzer (David Roster) and his bodyguard, Noname (Harlo Cayse), as phoney suppliers to set up Ruthie (Carla Rueckert) to be kidnapped by the ring. She is supposed to wear a tracking device in her bra, but she's taken before she can put it on. Fortunately, Kaspar already knows where the hideout is.
At the compound, named the 'Hidan of Maukbeiangjow', Ruthie is killed and replaced with a confused alien. This is supervised by the sorcerer Aph (Charles Rubin), who is a slave to an evil alien named Utaya (McCain Jeeves). Aph accidentally led Utaya to Earth. Another human looking alien (Pepper Thurston), teaches the replacement Ruthie how to function in her new body. She also kidnaps Trowel so his body could to be used by Utaya.
Freddie's brother "Junior" (Paul Lenzi) shows up to deliver his brother's stash of marijuana and give Aph's apprentice, Prudence (Elizabeth Rush), a hard time. Prudence and Kaspar end up bound together by the alien Ruthie.
Utaya wants Fenzer's help in stealing a billion dollars. He also wants Kaspar's body ready as a back-up vessel, since the dead are usually vapid and confused or become zombies. Junior attempts to catch and rape Prudence, but she shoots him after a lengthy chase. Freddie complains that Utaya is simply Trowel high on junk, and puffing his joint complains, "I don't work with nobody (puff) who ain't straight!" Trowel/Utaya is killed in battle, as are most of the kidnapping ring. Meanwhile, romance has blossomed between Prudence and Kaspar, so Aph gives the couple a ride in his convertible.

Tags: cult

Review:
(On the surface it looks more like Arthur Penn.) Still, it's a shame we don't see Elizabeth Rush, Ele Grigsby, or David Roster in anything else.A discussion of this film would not be complete without mentioning James DeWitt's score, although some of the suspense scenes rely on library music that tends to punch up the humor rather than suspense.
If you want to understand the work of Lee Jones, "Invasion of the Girl Snatchers" is widely considered the best place to start your studies.
Jones, with a little help from his friend Don Davison, also brought us "Shanty Town Honeymoon," "Moonshiner's Woman," and "Supervan."Incidentally, some of Jones' alternate titles are quite worthy of Drive-In Academy Awards, such as "Hillbilly Hookers," "Little Whorehouse On The Prairie," et al."Invasion" was made around the same time as William Girdler's "Three on a Meathook." In fact, "Invasion" borrows some of the "Meathook's" sets and locations.
Many members of the Louisville-based crew on "Invasion" were Girdler alumni, including Hugh Smith and Bub Asman."Invasion of the Girl Snatchers" hasn't been available on video since the late 80's, which is a crime.
_The Hidan of Maukbeiangjow_ is a fascinating film.
_The Hidan of Maukbeiangjow_ is a fascinating film.
Given the lurid title _Invasion of the Girl Snatchers_ nobody expects much, but I had the fortune of seeing the trailer, which has two guys trying to come up with a title that encompasses everything that is in the film.
Given the lurid title _Invasion of the Girl Snatchers_ nobody expects much, but I had the fortune of seeing the trailer, which has two guys trying to come up with a title that encompasses everything that is in the film.
_The Hidan of Maukbeiangjow_, which is the name of Aph's compound has an appropriate air of mystery that seems more fitting than the title we get, that never appears on the film itself.
_The Hidan of Maukbeiangjow_, which is the name of Aph's compound has an appropriate air of mystery that seems more fitting than the title we get, that never appears on the film itself.
I have seen to versions, one that I rented that had it chyroned in over synth music and cutting off the end credits, and one with the end credits and no opening title (and it wasn't cut off--it still has FBI warnings and the like), which I bought in an eBay auction.Set in a rural forested area that is simply gorgeous to behold in its natural wonder, on top of it we are given Aph's weirdly decorated mansion, which is a highlight of the film.
I have seen to versions, one that I rented that had it chyroned in over synth music and cutting off the end credits, and one with the end credits and no opening title (and it wasn't cut off--it still has FBI warnings and the like), which I bought in an eBay auction.Set in a rural forested area that is simply gorgeous to behold in its natural wonder, on top of it we are given Aph's weirdly decorated mansion, which is a highlight of the film.
Something about it is both very surreal and very seventies at the same time.The two central characters, Kaspar and Prudence, are unusually written and don't seem like halves of a couple but rather individuals.
Something about it is both very surreal and very seventies at the same time.The two central characters, Kaspar and Prudence, are unusually written and don't seem like halves of a couple but rather individuals.
She is a forthright character with an interesting fashion sense, and practices new-thought Christianity with smatterings of the occult, while Kaspar is a hippie working for a private investigator.
She is a forthright character with an interesting fashion sense, and practices new-thought Christianity with smatterings of the occult, while Kaspar is a hippie working for a private investigator.
Elizabeth Rush effortlessly imbues her character with wisdom and compassion (although the fact that she never does find help for Junior after her very strange chase scene seems a bit out of character), while Kaspar is a lovable dolt.
Elizabeth Rush effortlessly imbues her character with wisdom and compassion (although the fact that she never does find help for Junior after her very strange chase scene seems a bit out of character), while Kaspar is a lovable dolt.
You don't tend to think of hippies with redneck accents, but here one is.As you might expect simply form my descriptions of these characters, aside from the title assigned to it in 1985, nothing in this film is handled conventionally.
You don't tend to think of hippies with redneck accents, but here one is.As you might expect simply form my descriptions of these characters, aside from the title assigned to it in 1985, nothing in this film is handled conventionally.
The Prospero-like Aph rarely uses his powers on screen, and often sits bottom center in the camera frame looking on at the cockeyed plans of the two Juniors and the alien he mistakenly brought forth into the world.
The Prospero-like Aph rarely uses his powers on screen, and often sits bottom center in the camera frame looking on at the cockeyed plans of the two Juniors and the alien he mistakenly brought forth into the world.
Charles Rubin gives a deadpan, nearly emotionless performance, but actually substantially different from the totally emotionless performance of the possessed girls.Ellen Tripp as Ruthie and Ruth Horn as Rosebush give remarkably deadened performances, like that of true (Haitian) zombies rather than the movie zombies like the one played by James Rueckert in this movie that has everything.
Charles Rubin gives a deadpan, nearly emotionless performance, but actually substantially different from the totally emotionless performance of the possessed girls.Ellen Tripp as Ruthie and Ruth Horn as Rosebush give remarkably deadened performances, like that of true (Haitian) zombies rather than the movie zombies like the one played by James Rueckert in this movie that has everything.
Some of the humor with these characters is wonderful, but some goes on too long.
Some of the humor with these characters is wonderful, but some goes on too long.
The major problem is that the cramp jokes go on too long, as most of the other humor works quite well.Hugh Smith as Sam Trowel is appropriately serious, but he really doesn't change enough when he becomes Utaya, or else I'd give higher marks for his performance.
The major problem is that the cramp jokes go on too long, as most of the other humor works quite well.Hugh Smith as Sam Trowel is appropriately serious, but he really doesn't change enough when he becomes Utaya, or else I'd give higher marks for his performance.
It is certainly a serviceable one, but that aspect does not do much to impress, though Smith does have an impressive stage voice.The real dynamism comes from David Roster as Freddie, who is dumb enough to be funny but not dumb enough to be dull, like his brother, who is basically there to be his foil, as they're both juniors after all.The camerawork in the film is sometimes stiff, and the camera, except during the chase scenes is often used in a way that is too "stagy" to be effective, although many of the compositions are still impressive.
It is certainly a serviceable one, but that aspect does not do much to impress, though Smith does have an impressive stage voice.The real dynamism comes from David Roster as Freddie, who is dumb enough to be funny but not dumb enough to be dull, like his brother, who is basically there to be his foil, as they're both juniors after all.The camerawork in the film is sometimes stiff, and the camera, except during the chase scenes is often used in a way that is too "stagy" to be effective, although many of the compositions are still impressive.
Lee Jones and his crew obviously had access to a wonderful property which they often use very effectively, particularly in chase scenes.
Lee Jones and his crew obviously had access to a wonderful property which they often use very effectively, particularly in chase scenes.
The scene in which Prudence and Kaspar are in the circle of protection has one camera angle for which the film was very badly overexposed, and fortunately, this angle is used only sparingly, since they Jones did not try for any Laughton-esque uses of ill-matching lighting to demonstrate the characters being in psychologically separate worlds, which they certainly are, particularly at this point.The film is one that constantly throws out ridiculous ideas and makes them work, from the abandoned bra causing a quick circulation to the constant spoofery.
The scene in which Prudence and Kaspar are in the circle of protection has one camera angle for which the film was very badly overexposed, and fortunately, this angle is used only sparingly, since they Jones did not try for any Laughton-esque uses of ill-matching lighting to demonstrate the characters being in psychologically separate worlds, which they certainly are, particularly at this point.The film is one that constantly throws out ridiculous ideas and makes them work, from the abandoned bra causing a quick circulation to the constant spoofery.
Aside from running jokes not working, most of the off-the-wall additions to the plot are what make the film so interesting.
Aside from running jokes not working, most of the off-the-wall additions to the plot are what make the film so interesting.
"Invasion of the Girl Snatchers" just suggests a much simpler film than it is.
"Invasion of the Girl Snatchers" just suggests a much simpler film than it is.
In fact, aside from Utaya, who wants money, none of the other aliens have motivations for being there, other than simply that they were brought by either Aph or Utaya.
In fact, aside from Utaya, who wants money, none of the other aliens have motivations for being there, other than simply that they were brought by either Aph or Utaya.
They are just like people in the way they think; we never see what there bodies are truly like, nor do we care to as they aren't very interesting people as it is.
They are just like people in the way they think; we never see what there bodies are truly like, nor do we care to as they aren't very interesting people as it is.
All we need to know is they don't really know why they are here and do what Utaya says because they are hopelessly out of their environment.Little additions make the film interesting, too.
All we need to know is they don't really know why they are here and do what Utaya says because they are hopelessly out of their environment.Little additions make the film interesting, too.
A nine chambered revolver throwing off a count, an exploding tape that won't explode when it's supposed to, Rosebush drinking nitro, all go into a film that makes you wonder what the meaning of it all really is.
A nine chambered revolver throwing off a count, an exploding tape that won't explode when it's supposed to, Rosebush drinking nitro, all go into a film that makes you wonder what the meaning of it all really is.
(On the surface it looks more like Arthur Penn.) Still, it's a shame we don't see Elizabeth Rush, Ele Grigsby, or David Roster in anything else.
Apparently Lee Jones has other credits, but the IMDb doesn't list them, even if it lists films like _Supervan_ he apparently had something to do with.A discussion of this film would not be complete without mentioning James DeWitt's score, although some of the suspense scenes rely on library music that tends to punch up the humor rather than suspense.
DeWitt, who also plays the pimp in the green jacket, has clever, rapid fire lyrics that comment on the action as well as the Leonard Cohen songs in Altman's _McCabe & Mrs. Miller_, and as a result it results with odd language use and a lot of internal rhyme.
DeWitt, who also plays the pimp in the green jacket, has clever, rapid fire lyrics that comment on the action as well as the Leonard Cohen songs in Altman's _McCabe & Mrs. Miller_, and as a result it results with odd language use and a lot of internal rhyme.
The songs are a strong part of the character of the film, and question what's going on as often as they describe it "Freedom" is the main theme of a song in which a character breaks free, for example, but the opening song, which is repeated several times, could be said to represent the aliens' confusion as much as anything else.
The songs are a strong part of the character of the film, and question what's going on as often as they describe it "Freedom" is the main theme of a song in which a character breaks free, for example, but the opening song, which is repeated several times, could be said to represent the aliens' confusion as much as anything else.
It mentions such things as struggling to stay out of trouble, dealing with confusion that spreads like cancer, and the impossibility that everything can ever makes sense.
It mentions such things as struggling to stay out of trouble, dealing with confusion that spreads like cancer, and the impossibility that everything can ever makes sense.
It's certainly apt as this film's principal theme, which again makes me think of Buñuel in his deliberate attempt to make nonsensical films.
It's certainly apt as this film's principal theme, which again makes me think of Buñuel in his deliberate attempt to make nonsensical films.
It suggests the filmmakers, despite the technical glitches, more aware of what they were doing than what viewers might expect, or that they intended viewers to expect.View this film with an open mind.
It suggests the filmmakers, despite the technical glitches, more aware of what they were doing than what viewers might expect, or that they intended viewers to expect.View this film with an open mind.
You are not going to be seeing the usual fare when you sit down to watch this, neither are you seeing something truly pretentious, but you are seeing a fascinating film that does not ask you to think about it, merely to laugh, but when you do think on it, it becomes all the more interesting..
You are not going to be seeing the usual fare when you sit down to watch this, neither are you seeing something truly pretentious, but you are seeing a fascinating film that does not ask you to think about it, merely to laugh, but when you do think on it, it becomes all the more interesting..
Maybe it's erratic editing, crummy dubbing, pretentious or unintentionally stupid dialogue("This is where the fish live," from THE TOUCH OF SATAN springs to mind), cheap special effects, or (especially)overacting.
INVASION OF THE GIRL SNATCHERS really has none of these.
This low budget exercise in tedium concerns the employees of some government agency trying to run a sting operation to catch some crooks and instead running into some extraterrestrials who want to possess people's minds ala INVASION OF THE BODY SNATCHERS .
As this film nears its conclusion(mercifully)the head E.T. guy performs some sort of Black Mass/alien induction ceremony, pausing to lift up his ceremonial robe and take a key out of his jeans pocket--one of the few unintentional flubs in the movie I could spot.
Oh, there is something to watch in lieu of a coherent plot: a blonde chick the fed guys were going to use as a decoy for the crooks gets possessed by the E.T.s about a third of the way through her time on screen.
The outer space being gets curious about the earth body it has inhabited, and for the rest of her time on screen the actress runs around topless!
The Hidan of Maukbeiangjow (1973)1/2 (out of 4) This here has one of the worst titles in film history and it's easy to see why it was changed to INVASION OF THE GIRL SNATCHERS for its VHS release, which to date is the only release it's had on home video.
The film is, I think, a spoof of various types of films from the drive-in era.
This group then runs into some female alien cult leaders (or something to that effect.
THE HIDAN OF MAUKBEIANGJOW is a really, really bad film but apparently it's gained a cult following over the years, which means you're either going to hate it or fall for it.
I will admit that it does have a certain Southern charm going for it but sadly the thing just drags on way too long and has way too many long dialogue scenes that are just downright boring and slow.
Director Lee Jones is probably best remembered for working as a producer for several films by William Girdler.
Apparently this film was shot using the same equipment and some of the same locations as Girdler's 3 ON A MEAT HOOK.
Either way, this film here just never overcomes it's low-budget nature and even a funny opening song can't save it.
In all reality the performances aren't too bad and I think Jones could have directed something.
This wonderfully wiggy, shot-in-Arkansas tongue-in-cheek regional low-budget oddity serves as a breezy, irreverent send-up of both chintzy indie Southern-fried 70's drive-in swill in general and equally cheeseball 50's sci-fi alien invasion tales in particular.
The plot itself is an elaborate deadpan put-on: Two scuzzy hoods kidnap nice-looking chicks for a gibbering religious kook magician who uses the lovely ladies' bodies as vessels for a race of evil extraterrestrials he has come in contact with.
It's as if director Lee Jones (who also handled the shaky cinematography and produced William Girdler's abysmal backwoods psycho pic "Three On A Meathook") and screenwriter Phineas T.