Movie Fan Man: Cinema Connoisseur

Traditional, Artsy, Genre-Within-Genre: A Little Something for Everyone

Something Fun & Different

by Tony Nash

Hello to my followers, those I’m following, and all curious visitors,

I was planning on originally doing Part 2 of my Epics series on the Russian version of War & Peace, but activities with the family, and an annoying cold set that back a little, which I’ll hopefully finish up come next week, so I thought something different would be cool to do.

Inspired by Mike’s Take on the Movies write up on a good cast for a remake of the classic war film The Dirty Dozen, I figured I would do my ideal cast for a take on a Classic film/story. Now I’ll be doing my cast from old school actors/actresses from the 60’s and 70’s and instead of a remake, I’ll be discussing who’d be perfect for a general adaption for a Classic novel.

Agatha Christie’s And Then There Were None is a classic in both literature and the film world with at least five adaptions done for the big screen and TV. My take on the story would be an adaptation of her stage play version like the others, but I would retain the character names from the novel, and I would do it in a homage to the Italian Giallo, with actors and actresses associated in some way or another with the genre. Never being one to settle on just one person, I’ll list two to three actors a role and let you decide who’d be better suited.

If you have any suggestions, feel free to list them in the comments below, remember this is all in fun, and a nice idea for budding filmmakers who love the classics

Since the film will be done Giallo mystery style the Italian title of the film is

E Poi non C’era Nessuno (And Then There Were None)

Gianni Garko,

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George Hilton,

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and Jean Sorel

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as Philip Lombard/Charles Morley

With Christie describing Lombard as suave and mysterious, either of these two guys would fit the bill very well. Garko has the suaveness and sophistication, while Hilton has the mysteriousness and charm.

Margaret Lee,

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Nieves Navarro

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and Erika Blanc

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as Vera Elizabeth Claythorne

Either the British bombshell, the Spanish beauty, or the Italian goddess would be wonderful as the beautiful and equally mysterious Vera Claythorne. As the character reveals little about herself until mid point, these beauties each embody the characteristics.

Charles Vanel,

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Alain Cuny,

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and Anthony Dawson

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as Justice Lawrence John Wargrave

With the character usually being depicted as an older sophisticated fellow, any of these classic era actors would work in the part. And that some of them have played homicidal types in the past, is a plus.

Ugo Tognazzi,

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Lee J. Cobb,

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and Richard Johnson

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as Doctor Edward George Armstrong

With the character being something of a cynic, a drunkard, and a fatalist, either of these crusty types would be be suited to the role of the doctor.

Anthony Dawson

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Leo Genn,

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and Stanley Baker

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as Detective William Henry Blore

Anthony Dawson comes up again here, as he’s work well with either role. Leo Genn also appeared in the 1965 version titled Ten Little Indians as the General, but as he also played smug slimeballs, he’d work well in the Blore role. The same can be said for Stanley Baker.

Suzy Delair,

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Giulietta Masina,

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and Alida Valli

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as Emily Caroline Brent

This role is probably the toughest to cast as you need the right mixture of older sophistication and coldness. So for this I decided to go with three actresses I believe could pull off the role.

Howard Vernon,

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Salvo Randone,

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and Fernando Sancho

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as General John Gordon MacArthur

Another part that’s a little difficult to cast as an older performer with a certain sense of world-weariness or life fatigue is needed. Another three actors I believe could tackle the role

Ivan Rassimov,

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John Steiner,

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and Claudio Camaso

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as Anthony James Marstson

Either of these three men can play the slimy, arrogant, and amoral first victim

Ciccio Ingrassia,

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Federico Boido,

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and Luciano Rossi

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as Thomas Rodgers the Butler

Ingrassia, normally known for being one half of Franco e Ciccio with Franco Franchi would look good in a change of pace role. Boido and Rossi rarely got substantial roles, so they’d be great in the part.

I can’t really think of anybody to play the part of Ethel Rodgers, so if anyone has any suggestions there, please let me know.

and finally

Corrado Gaipa

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as the voice of Mr. U.N. Owen.

Raspy and crisp, this solid character performer and voice dubber has the perfect vocalization for sending the guests on their way to doom.

Hope you all enjoyed this little idea of mine, and let me know in the comments any ideas you have for this or suggestions.

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Filed under: Film: Special Topics

The (Genuine) First Masterpiece

by Tony Nash

(The Long Epic Mini-Series Part 1)

(Mild Spoilers)

(All opinions are of the author alone)

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Napoleon (Napoleon vu par Abel Gance/Abel Gance’s Napoleon) (1927) ***** PG

Albert Dieudonne: Lt./Capt./Gen. Napoleon Bonaparte

Gina Manes: Josephine de Beauharnis/Josephine Bonaparte

Edmond Van Daele: Maximilien Robespierre

Alexandre Koubitzky: Georges-Jacques Danton

Abel Gance: Louis Saint-Just

Antonin Artaud: Jean-Paul Marat

Nicolas Koline: Tristan Fleuri

Annabella: Violine Fleuri/Desiree Clary

Pierre Batcheff: Gen. Lazare Hoche

Acho Chakatouny: Pozzo di Borgo

Max Maxudian: Barras (as Maxudian)

Philippe Heriat: Antonio Salicetti

Marguerite Gance: Charlotte Corday

Vladimir Roudenko: Young Napoleon Bonaparte

Written & Directed by: Abel Gance

Synopsis: The life of Napoleon Bonaparte chronicled from his education at Bienne College to his major role in the French Revolution to his romance with Josephine de Beauharnis to his conquest of Italy.

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A little over a decade after D.W. Griffith shocked and disgusted the world with his Birth of a Nation, Abel Gance gave dignity back to the Epic and the War Epic with a grand scale take on the early days of Napoleon Bonaparte. Set before his time as Emperor and Tyrant, Gance’s biopic looks at Napoleon as he fights for respect in both boyhood and manhood, his ups and downs as he rises through both the Corsican and French Armies, how he met and fell in love with Josephine, and how he became a hero to the people of France. How Gance imitated Griffith in camera technique and editing was the use of experimental angles, hand-held shooting, pre to early Eisenstein Montage, and allegory via the use of tinting and images, but how he differed was his respect he showed to the various people involved. While the masses were shown living in squalor, Gance never showed them in derogatory lights, the same with the upper crust slowly being replaced, again never showing them in an offensive light.  Mixing both Historical sources and conjecture from various biographies and textbooks, Gance paints a very intriguing and exciting tale of a man before absolute power corrupted him and how it landed him an infamous place in history.

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Image result for abel gance napoleon

Albert Dieudonne, a French actor turned Historian, gives a powerhouse performance as Napoleon himself. Interestingly enough, Dieudonne would briefly be hospitalized in a Mental Institution when he became so absorbed in playing the part of the infamous Military Emperor that he came to believe he was Napoleon. Dieudonne really is the perfect embodiment of Napoleon, almost perfectly capturing his charisma, personality, his genius as a military tactician, and his occasional romantic and loving side. Dieudonne does go a little into the melodramatic side in trying to convey Napoleon’s attitude regarding the Revolution as his Destiny, but he sticks to the historic texts and research into who Napoleon really was and brings the man to life in an extraordinary way. His most tender moments are with his family, and his early courting of his wife Josephine, showing Napoleon had a humane side, and even was once like many other people. Vladimir Roudenko, a one-time young actor of Russian and French origins, does an equally good job in showing off Napoleon as a child. Tormented because of his Corsican heritage and seen as half-savage, the young Napoleon is forced to work extra had to prove himself as a capable student, military man, showing even at a young age, the ambition and determination he set for himself.

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Gina Manes, a somewhat forgotten French actress, does an excellent job as Napoleon’s girlfriend and wife Josephine. Manes is very faithful to the real-life Josephine, portraying her as a genuinely decent, but very worldly woman. Having had several lovers before, and after her first marriage, Josephine was a woman who enjoyed the good life, but also dearly loved the children from her first marriage, and is shown as heartbroken being separated from them when she’s jailed with the other royals. Josephine’s first husband, who was the one that abandoned the family, offered his life in exchange for hers, though more as an act gallantry in the face of the revolting people, though she was a fine mother to their children. She too sees her life with Napoleon as Destiny as she was told by a Gypsy fortuneteller that her future included becoming the Queen. While wanting to have the best for herself and her children, she does have a genuine affection for Napoleon, though probably not to the same degree as he for her, though it is this romance that helps Napoleon with his success.

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French character actors Edmond Van Daele, Alexandre Koubitzky, and Antonin Artaud portray the three heralders of the French Revolution as Robespierre, Danton, and Marat respectively. Robespierre is the practical, straight to the point type, Danton loves giving speeches and inspiring hope in the people to support the Revolution, and Marat is the philosopher bringing sanity and reasoning to the cause. While all three men are for the Revolution, their ideologies regarding it will soon have them quarreling and at each other’s throats regarding who has the right way of doing things. Marat becomes the Revolution’s martyr when he’s murdered by a Royalist sympathizer, but Danton and Robespierre turn on each other, Robespierre having Danton executed as a failure and traitor to the cause. Robespierre gets his comeuppance when he begins turning into a tyrant, executing people at will because they don’t agree with his ideas.

(Author’s Note: Actor Artaud beautifully recreates the famous painting depicting how Marat was found after being killed.)

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Image result for abel gance napoleon marat

Director Gance and his wife Marguerite also play small, but pivotal roles in the film, as Louis Saint-Just and Charlotte Corday respectively. Saint-Just is the fourth head man of the Revolution and, like Robespierre, loses sight of what the Revolution is about, and turns into a tyrant along with Robespierre, and is also denounced and executed with his comrade. Charlotte Corday got into the history books as being the murderess of Marat, feeling she was helping the Royalists in her actions, but was caught and executed for her crime Ironically the revolutionaries would have Corday to thank as she, like Marat being a martyr, helped bring the Revolution to its earliest fruition.

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Like many great films, Gance’s Napoleon also had its problem. The original producer, Giuseppe Barattolo, was forced to exit production when the Italian film industry was hit with its first financial crisis, leaving the production without money or a way to continue. Star Dieudonne had to enter a mental hospital when, midway through filming, Napoleon’s larger than life personality and ego overwhelmed him and led the actor to believe he was the man himself (as stated in Dieudonne’s section), again production having to halt so he could get well. Many of the technical aspects, while completed and successful, had Gance in argument with some of his crew and the new producers due to budget constraints and time. Money was the key issue, as producers were coming and going, always worrying Gance’s vision wouldn’t give them a profit or be fully realized. The financial strain eventually became too much, and even when the film proved to be a success, Gance made the decision to burn more than a dozen canisters of unedited footage, depriving both viewers and historians of what else he had accomplished with the film.

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While plagued with behind the scenes problems, and the loss of much footage, Gance’s take on the life of Napoleon is still spectacular to behold. Gance’s meticulousness in shooting and how his actors were in front of the camera was a testament to how historically accurate he tried to be in telling the true story of a man. His inventive use of camera movements and angles, the first experiment with the widescreen process would become early staples of what the film industry would expand upon and use to this day, proving that film could be both a form of entertainment, and a form of art.

(Not only is this a film that I highly recommend to film fans to check out, this is a must film for any fan of cinema to see at least once in his or her life. Everything about this film is so amazing, from the performances, especially that of Albert Dieudonne, to the amazing experimental cinematography and camera angles, to the amazing use of locations. That Gance also tried to be as faithful to history as he could is also amazing, as both lovers of cinema and lovers of history will find things to love about the film. The British Film Institute, in collaboration with the film’s restorer Kevin Brownlow, did a fantastic job in the reconstruction and restoration of this almost lost classic piece of Silent Cinema.  The image and sound are so crisp, it feels like the film could’ve been made in the last ten years. There are signs of age in some scenes as Brownlow spent thirty plus years looking all over the place for footage, some of which were in bad shape when he located and preserved them. This doesn’t take away from the film however, as the majority of it is pristine.  It’s well worth any film lovers time.)

All images courtesy of Images and their respective owners, including the BFI

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Filed under: Film: Analysis/Overview, Film: Special Topics

Tense Allegorical Thriller

by Tony Nash

(A Part of the Cycle of the Melodic Gialli)

(All opnions are of the author alone)

(Mild Spoilers)

(This review is of the original Italian language version)

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Le Orme (Footprints/Footprints on the Moon) (1975) PG-13 ****

Florinda Bolkan: Alice Campos/Nicole

Peter McEnery: Harry, the Carpenter Tourist

Nicoletta Elmi: Paola Bersel

Klaus Kinski: Professor Blackmann

Ida Gialli: Mary, the Analyst (as Evelyn Stewart)

Lila Kedrova: Iris Ines

John Karlsen: Alfredo Laurenti

Written by: Mario Fenelli & Luigi Bazzoni, based on Fenelli’s novel Las Huellas

Directed by: Luigi Bazzoni

Synopsis: A Portuguese woman living in Italy begins suffering memory lapses, resulting in her losing three days upon abruptly running from her job as a government translator. She reveals to a friend that when she was younger, she had seen a Horror Science Fiction film called Footprints on the Moon, about inhumane government experiments done on astronauts, which apparently heavily traumatized her. Deciding to take a vacation to clear her mind and rest, she chooses an island she noticed on a postcard, but soon realizes her nightmares are slowly becoming a reality.

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Luigi Bazzoni, in his final film as a director, offers up a complex and compelling psychological Thriller involving the mind. What begins as a standard Mystery about a woman’s search for answers upon learning she can’t remember the past three days of her life slowly turns into a journey into paranoia and uncertainty. People she’s certain she’s never seen before seem to know quite a bit about her, albeit her with a different name, and that she seemed determined to get away from people chasing her, and trying to find someone from years ago. Childhood trauma comes into play as the protagonist seems to equate everything to a movie she saw as a child in which cruel scientists subject unsuspecting astronauts to horrific experiments, leading both viewers and the protagonist herself to wonder if the movie had real life implications or if her mind is playing tricks on her. Soon, what the woman believes to be reality and fantasy begin to turn on its head, and she finally begins to worry something happened in those three days that were terrible and she, for one reason or the next, blocked it out of her mind.

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Florinda Bolkan, a Brazilian who became a star in Italy, is a surprising success in the lead role of Alice Campos, alias Nicole. An overworked translator for the Italian embassy, she starts having recurring nightmares about a Sci-Fi film she was terrified of as a child. This lack of sleep and the overuse of tranqulizers does little to help her, and apparently has made things worse in her life. When her superior at work informs her she missed three days after mysteriously just walking out of a session one day, she becomes determined to find out what happened. While she remembered feeling unusually flustered at work, and just leaving with witnesses looking at her, nothing else seems to connect. The tropical island of Garma somehow keeps popping up for Alice, she decides to take a vacation and find answers to what the paradise has to with her amnesia and dreams. When a girl she encounters claims she knew Alice under the name Nicole and that she was rambling about people chasing her, Alice becomes more frustrated and confused. When her dreams become more and more vivid and she suspects something far more sinister is afoot and she’s in real danger. What Alice also fears, but never explains in words, is that she might very well be losing her mind.

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Klaus Kinski, the equally famous and infamous German character actor, has a small, but important part as Dr. Blackmann. Appearing only in Alice’s dreams, Blackmann is the apparent antagonist of Footprints on the Moon, the film within the film. Blackmann is a scientist that has apparently no qualms or morals whatsoever when it comes to proving a theory regarding astronaut survival on the Moon should something happen that strands them there. This theory or the reasons behind it are never explained, other than that the test subjects should be surviving whatever it is they are left with on the planet. Each scene is only of Blackmann repeating the subject should be surviving, only to watch the man slowly suffocate and die, cursing the experiment should have been a success and to find another “Guinea Pig” to send up. This inhumanity is what terrified Alice the most as a child, hence why those moments appear to be the ones that most repeat in her nightmares and visions. How Alice connects Blackmann to herself is a case of paranoia and the ultimate fear that what happened in the film would happen in real life.

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Image result for le orme 1975

British actor Peter McEnery and Italian child actress Nicoletta Elmi play characters with positive connections to Alice. Each wants in their own way to help her, as they realize something troubles her, but at the same time become fearful for, and of, her as her rationality seems to constantly go from calm to erratic for little to no reason.

(Author’s Note: I can’t tell you too much about these characters as spoilers would be involved, and these moments give a lot to the revelation at the end.)

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Image result for le orme 1975

Both memorizing and frustrating, complex and simple, delirious and coherent, Le Orme is the most experimental of the Thriller Giallo ever made. While hard to understand at times, and the consistent red herrings and even some misleading dialogue from actors as to even get a hint of what Alice’s problem is, the film does pack a pretty good punch when the ending is reached, and everything truly comes into place and what audiences weren’t sure of before come clear.

(I do recommend giving this film a try, though I do forewarn the experience will go from the typical Mystery Thriller into an allegory of a person slowly going mad trying to find answers to questions they’re not even sure they want to know. This isn’t to say the film isn’t any good, it’s really well made and Bazzoni truly keeps the secret a secret until the very end, but how the conclusions are reached can feel a little out of left field and unexpected, but it’s worth it in the end. Shameless Screen Entertainment/Shameless Films does a good job with the restoration and rebuilding of the film, and provides both the original Italian dub with subtitles and the English dub, scenes that were previously missing from prior releases available in Italian only.)

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Filed under: Film: Analysis/Overview, Film: Special Topics

Klaus Kinski as a Good Guy? …..Yes

by Tony Nash

(A Part of the Cycle of the Melodic Gialli)

(All opinions are of the author alone)

(Mild Spoilers)

(This review is of the original Italian language version)

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A Doppia Faccia (Double Face) (1969) R ****1/2


Klaus Kinski: John Alexander

Sydney Chaplin: Mr. Brown (as Sidney Chaplin)

Margaret Lee: Helen Brown-Alexander

Annabella Incontera: Liz, Helen’s Lover

Gunther Stoll: Ispettore Stevens

Luciano Spadoni: Ispettore Gordon

Christaine Kruger: Christine, the Fetish Artist

Gastone Pescucci: Peter, the Porno Director

Barbara Nelli: Alice, Secretary at Brown & Brown

Written by: Riccardo Freda (as Robert Hampton) & Paul Hengge, based on a story by Lucio Fulci, Romano Migliorini, & Gianbattista Mussetto, inspired by the novels of Edgar Wallace

Directed by: Riccardo Freda (as Robert Hampton)


Synopsis: Cold and double-crossing firm owner Helen Brown vanishes after naming her cuckhold husband John Alexander the solo heir to her fortune. Soon it becomes apparent someone is trying to drive him out of his mind. Is Helen dead or alive? Is she plotting with her lesbian lover to have it all, or are there others trying to make it look like John did it because she was unfaithful?

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Riccardo Freda, one of the many Jack-of-all-Trades filmmakers in Italy, tried his hand at the burgeoning Giallo genre that would take off a year later. At this stage, Giallos weren’t the smash successes in Italy current fans and historians thought they were, but they did see moderate success in Germany thanks to the public seeing seem as offshoots of their own mystery style films, the Krimi. These films were primarily made up of adaptations of the novels of British writer Edgar Wallace, and Freda and his co-writer Paul Hengge patterned the screenplay after a story collaboration of other writers, one of whom was Lucio Fulci in his early directorial stages, that was done in the Wallace style. The tricky and intricate plot of a man uncertain his shrewish wife has really died in a car accident and believes numerous unsavory characters, including some people he trusts, are trying to make him go mad thinking she’s setting him up as her killer is a story Wallace himself could’ve written as his stories were almost always centered around the death of a woman or a group of women.

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What makes this Wallace-esque Mystery film interesting is that some of the exterior scenes were shot in England. London’s night life and main entertainment district are shown in full swing in the film, numerous clubs, movie theaters, and restaurants getting their moments in the limelight. While in some scenes it can’t be certain Kinski was actually present in London during filming, that Freda had the budget to send a second unit out to the UK for the shots is pretty cool and a nice addition to get the British feel right.

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Klaus Kinski, a German actor who spent much of the 60’s and 70’s working in Italy is a surprise revelation in the role of John Alexander. Normally known for playing villainous psychopaths and all-around unlikable characters, does an unbelievably good job in the role of a victimized good guy. John is depicted as the typical British working-middle class man who lives a little better than most, but has no ambitions for the high life. He genuinely falls in love with his wife, and is completely baffled and hurt when she suddenly goes cold and loses the majority of her interest in him. Initially he puts up with her lesbian affair to a local stage actress, hoping she’s going through some sort of self-discovery journey, and is relieved when she announces she’s provided for him. When he learns her car crashed as she was going on an extended vacation, he gets continually questioned by the police. After driving a Hippie woman who managed to gain access to his home to escape bad weather to her club, she offers him a look at a nudie film she made, and believes his wife is in the film as well, hiding under a mask. Thinking some very bizarre people are in cahoots with his wife to drive him mad, or are using her against her will, John does his own investigating to prove he had no involvement in her “accident”.

(Author’s Note: The early to mid-60’s saw Kinski appearing in several of the Wallace Krimi films in Germany, usually as the villain or a henchman of the villain, hence why he was casted here.)

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Image result for a doppia faccia"

Image result for a doppia faccia"

A slew of character actors including Sydney Chaplin (son of silent film icon Charlie Chaplin), British expat Margaret Lee, German Gunther Stoll, and Italian Annabella Incontera,  help make up a set of rouges who may want to try to help Mr. Alexander, or are somehow a part of the conspiracy to make him look guilty and/or drive him insane. Lee’s brief appearance as the shrewish Helen is quite interesting as the character seems to have a kind of affection for her husband, but has for some reason fallen out of romantic love with him.  While not explicitly shown, there’s a heavy hint that an actress Helen constantly spends her time with, is in fact her lover, and has been fooling around with on her husband for some time, suggesting John is extremely jealous of his wife’s promiscuity, particularly in that she threw him over for a woman. The question throughout the entire film will be if Helen is dead or alive, and who she may or may not be conspiring with against her husband, that will become more complicated as the film progresses, leaving everyone uncertain of what’s going on.

(Author’s note: due to the ending being very intricate, not can be said for most of the characters as it would spoil the surprise waiting for viewers when the revelation comes to light.)

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In a case of irony, the film actually bombed in Germany, leading to a brief pause of the Wallace films, fans likely seeing it as a poor imitation of the films already made and released since the late 50’s. While lacking some of the essentials of a Wallace or Agatha Christie story, the film actually did keep the mystery of what was really going on until the last few minutes fairly well hidden, even beginning with Kinski’s character being proven innocent and the story being done in flashback.

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Underrated upon its initial release, Doppia Faccia has secured a place as one of the better entertaining Giallos of the late 60’s period. While it doesn’t have anything too unique to make it a classic of the genre, it does keep the viewer in suspense and guessing as to what’s really going on, and uses the mystery aspect very well, making it both a minor classic and a cult classic style of film. Red herrings abound like crazy in the film and are always keeping the viewer on their toes about the real mastermind of the whole plot, which is key to the success of any mystery. Klaus Kinski, Margaret Lee, Sydney Chaplin, and the remainder of the cast do fine jobs in their respective roles, helping to add to the story at every turn and plot point.

( I highly recommend this  early Giallo effort from Freda as while it is a little too typical in terms of the British style of Mystery and offers little of the tropes associated with the genre, does an excellent job with the clues, false leads, and various herrings to keep the audience constantly guessing. Freda was fairly underrated during his lifetime and with the advent of home media is finally getting the recognition that seemed to constantly  allude him. Klaus Kinski is the biggest surprise of the whole thing, actually giving a convincing performance, of man who, while constantly frustrated by the choices he made in love and attitudes , is an otherwise good guy caught up in something truly diabolical. Arrow Video once again knocks this release out of the park, with fine audio and visual transfers with a nice bit of extras. Well worth checking out in my opinion.

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Filed under: Film: Analysis/Overview, Film: Special Topics


Hello to my followers, those I’m following, and all curious visitors,

Well, the New Year is upon us. Hope everyone had the Happiest of Holidays and a fun New Years Eve.

All Holiday break long I was pondering how to make this blog a little more varied and unique and I found a solution.

First things first, I plan on finishing the recent run of The Cycle of the Melodic Gialli starting next with Riccardo Freda’s A Doppia Faccia (Double Face) and then finish the last of the Bazzoni films.

Now I do plan to continue this series and Western Wednesdays and the one on Euro Crime ( I need to pick an easier to remember title for it 😉 ), but I’ll also be mixing in specials that I think will add a little flair and break up what has started to become the same old, same old.

The Christmas Season saw me get three of the four films Charles Bronson made over in France, and I plan to start a Mini Series on those later this month that will briefly see intermission while I get the fourth film.

I also would like to try an interesting experiment that I’ll need you, my followers on here, to give me a hand with. I decided to take a look at Italian cult filmmaker Joe D’Amato’s late period Erotic film 11 Giorni, 11 Notti (Eleven Days, Eleven Nights), and thought maybe doing a continuing series on the some of the better quality Erotic/Adult films would be interesting. I’m also planning on getting the original Emmanuelle Trilogy with Sylvia Kristel, and one or two other titles to start with. Now the help I’ll be needing from you my fans is finding what other films would be good to check out. I know the company Vinegar Syndrome has put out quite a few of those types of films, but I’m not looking for anything Triple X here,  I would like to keep this blog as classy and R to NC-17 as I can get, so if any of you my fans know of anything worth checking out, please feel free to list them in the comment section. I’ll be keeping my eye out as well.

One of the bigger projects I’m planning on is looking at the epic Historical War Films Napoleon by Abel Gance and Voyna i Mir (War and Peace) by Sergey Bondarchuk. I was originally planning on doing a little piece on how Gance’s Napoleon film and Bondarchuk’s Waterloo make up a complete whole in telling Napoleon’s life story on film, but with how differently both films are done, I’m not sure accurate they’d be with each other. I’ll still include Waterloo as a nice interpretation into Napoleon’s last grasp at power. I’ll most likely watch the first two films in segments as they’re quite long, so I’ll most likely save the write ups on them for near the summer.

That’s the major News for right now, if there’s anything else that catches my eye to write on I haven’t tried yet, I’ll mention in another News post. Hope you all find something to enjoy here in the New Year and I’ll see you here next week.

Tony Nash aka MOVIE FAN MAN


Filed under: Annoucements, Film: Special Topics