To coin the phrase of fellow WordPress blogger MMC! (Make Mine Criterion!) “Arrow Made Mine”, and that’s exactly what Arrow Video has done with a foursome of awesome Italian Westerns. Vengeance and Revenge in its various forms play a huge role in the Italian Westerns, and Arrow has appropriately titled there set Vengeance Trails, and all four films feature the protagonists going on journeys to avenge past injustices. Featured in the set are: Le Colt Cantarono la Morte e Fu…Tempo di Massacro (Massacre Time), Due Once di Piombo (Il Mio Nome Pecos/2 Ounces of Lead/My Name is Pecos), Bandidos, and E Dio Disse a Caino (And God Said to Cain), all very good, dark, and gritty Westerns that exemplify the genre well. Arrow will include its usually high quality book/booklet, a small poster, and a slew of extras including interviews with genre icons Franco Nero and George Hilton.
I do have Massacre Time on Blu Ray in a cool Mediabook/Digibook from Germany and My Name is Pecos in a DVD boxset, again from Germany, but as a collector and lover of the Italo West genre, this is a must buy as I don’t have Bandidos and And God Said to Cain in my collection yet. The only negatives I can find with the set is that Robert Woods’ interview about Pecos from the Wild East DVD and the German set and one of Hilton’s interviews from the Massacre Time German Blu Ray will likely not be included, but this isn’t a deal breaker as I don’t plan on selling the earlier purchases. The price is also a little on the high side, but given the current times, this is to be expected, and of course sales and price drops always happen.
Arrow Video has really outdone themselves with this release and I hope they do a lot more like it in the coming months and into 2022.
Written by: Dorothy Kingsley, adapted from the stage play by Sam Spewack (as Samuel Spewack) & Bella Spewack, freely based on The Taming of the Shrew by William Shakespeare
Directed by: George Sidney
Synopsis: A divorced acting couple put aside personal animosity to put on a production of Cole Porter’s musical take on Shakespeare’s romantic comedy The Taming of the Shrew. The film mixes both the production itself, and the backstage antics of the couple, and two of the other cast members as they figure out their romantic feelings, all while the lead actor does whatever it takes to keep his ex on the stage.
Lois Showing Fred, Lilli, and Cole Porter Her Tap Dancing Skills (from NZIFF)
While the 3D craze was still the fashion of the early to mid 1950’s, the Musical genre got its taste of the fad with the film Kiss Me Kate. The film within a film, which explores both a theater company’s performance of a production and the backstage antics of the cast, and others associated to them, is a fine setting for the 3D process as it allows actors to punt items to the camera in a believable fashion that doesn’t feel as if they’re entirely playing to the camera for the sake of the effect, whether it be the throwing of a prop or the extended in focus view of an object. The film’s main comic element is the two leads constant bickering that finally has the leading lady having enough of her ex husband/male lead’s manipulations and ego, and the man’s zany efforts to keep her from leaving, and to keep the show from ending up a financial and critical disaster. Destiny or luck seems to be on his side when a member of the cast signs an IOU with the lead’s name for a gambling debt that has two Mob enforcers coming to collect, prompting the “hero” to play the mix up to his advantage, stating he won’t be able to “pay” if his leading lady walks out on the show, leading to very funny and outlandish events and situations. A solid side plot has an aspiring acting/dancing couple who’s budding romance is on the skids because of the woman’s flirtatious nature and the man’s bad luck in games of chance, which ignites the chaotic events of the night.
(Author’s Note: Cole Porter, who wrote the songs and music for the original stage version and the film, is given a small cameo played by Ron Randall in the film, isn’t a character in the original stage performances, only mentioned as being the author of the play.)
The first big number of the play (from the IMDb)
Kiss Me Kate was one of the many successful modern takes on a Shakespeare classic, and one of the few Hollywood efforts to show what possibly might go on backstage before and in between the acts of a play/musical, including the tensions between big name stars who can’t seem to coexist in the same production. A lot of changes had to be made before MGM gave the film the greenlight to begin filming. The original script by married couple Sam and Bella Spewack had quite a bit of colorful language, swear words, and a lot of sexual innuendo. “Brush Up Your Shakespeare”, sung by the two hoods, had them performing the number during the Broadway version in a more comical manner that hinted the duo may have been homosexuals, which was a major no-no in the then still enforced Hayes Code, moved as a diversion by the hoods while Fred and Lilli had their big spat about Fred’s deception to keep her from quitting acting to right before the ending as a means of cheering Fred up after he believes he’s lost Lilli for good. There’s quite a bit else changed for the sake of cleanliness, but that’s the main bit everybody talks about.
Lilli Being Swept off Her Feet (from Pinterest)
Lilli as Kate the Shrew Singing “I Hate Men” (from Pinterest)
Kathryn Grayson, the Opera Soprano trained singer who went to Hollywood, is a sheer delight as both Lilli Vanessi and the title character of Shakespeare’s famous Shrew. Grayson’s voice and style is perfect for the nearly always frustrated Lilli who has a love/hate relationship with both her ex-husband and the acting profession, her voice going deep Alto every time someone gets her mad. While it’s clear she loves performing, the tough time she had with ex Fred Graham has soured her to the calling, and wanting to start afresh by marrying a wealthy and doting Texas Cattle Baron. The mix of the film going from the performance to the backstage shows Lilli is very much like the character of Kate in that the she’s quick temper, isn’t afraid to get physical, and would gladly punch the lights out of her would be suitor, but unlike Kate, Lilli loves to be romanced and dotted upon, just wanting the man she marries to treat her like an equal and a partner, rather than just a cog in the theater machine to success. Her ire really gets up when Fred stoops to a new low and cons two hoods into making her stay with the production, falsely believing Fred owes their boss money for a gambling loss, making the hoods wish they hadn’t taken the job when, during a scene in the play, she begins throwing very real dishes, pots, and vases at them. Her emotions eventually become conflicted upon realizing that Fred truly does care about her, but at the same time feels he did her wrong so many times when they were married the first time that she wonders if she can honestly trust him.
Fred Trying to Remind Lilli of the Good Times They Shared (from TCM)
The Wiley and Cunning Petruchio Making Plans With Father-in-Law Baptista (from The Blonde at the Film)
Howard Keel, with his Tenor-Baritone pipes and rascally persona, does a fine job in the roles of Fred Graham and Petruchio. A Poster Boy example of what a hammy ego-maniac star usually is like, Fred Graham is the kind of guy who may very well make a struggling actor or actress a name in the business, the main question really being how long will it take before the performer wants to strangle him for being too demanding and difficult. Fred is an actor/director who knows what he wants and knows what will make a show a success, but his methods for getting the job done are fairly questionable. Not above using jealousies and professional competition as a means to coercing hard to get actors and actresses to accept roles in his productions, Fred may have bit off more than he could chew when he goes too far in trying to match ex wife Lilli’s verbal barbs and she finally has enough and decides to quit show business. Panicking over the failure of the show, in both money and within the theater community, and what it’ll mean for his reputation, Fred once again gets far too desperate in his actions to save the show. After a co-star, who’s jealous of the swoons his girlfriend gives Fred, signs his gambling IOU debt with Fred’s name, Fred equally deceives the hoodlums who intend to break the debt holder’s body parts unless the money’s coughed up, by making them think Lilli’s performance is the only way the show will make money to pay them off, thus using force to make her stay. The plan goes awry in the end when Lilli manages to scare the hoods and Fred into letting her go by threatening kidnapping charges to the police. Realizing Lilli’s on to all his tricks, Fred tries being honest with her, saying theater, and he himself, are nothing without her talent and gracefulness, and admitting that it was his ego that fouled up their marriage. He then must wait and see what happens.
Lilli is Unimpressed as Lois Shows Her Range (from SMITH RAFAEL FILM CENTER – California Film Institute)
The Lovely Bianca Laments Her Marriage Woes (from Ultimate Movie Rankings)
The Comic Hoodlums Lippy and Slug (from YouTube)
The Duo in Disguise as Extras (from NZIFF)
Bianca’s Vying Suitors (from Pinterest)
The Frustrated Poppa Baptista (from Aveleyman)
Ms. Grayson and Mr. Keel are joined by a bevy of talented theater and film performers.
Anne Miller, the Queen of Tap Dance, is a hit as the other woman Lois Lane (no pun on Superman here) and the late casted Bianca for the Graham production. Lois is an aspiring performer actress/dancer who innocently flirts with Fred Graham to help move her career along. Her problem is that her boyfriend Bill Calhoun is content with being just another nameless hoofer in the chorus, and prefers the thrill of gambling over the excitement of applause and performing. His frustration over Lois and his bad luck is what leads to the crazy events later on, but in the end things work out for them. Keenan Wynn (Disney Legend Ed Wynn’s son) and James Whitmore, two of Hollywood’s more reliable heavies and antagonists, are blasts in the respective roles of Lippy and Slug, Mob debt collectors. When Bill’s losses at gambling round up to $2000, the duo’s boss sends them to either get the money owed to him, or to break the welching gambler’s arms and legs. Because they didn’t see Bill at the gaming joint, and only know the IOU bears the signature Fred Graham, the duo immediately head for the known Broadway star’s dressing room. Eventually they come to like Graham, and don’t relish the idea of beating him to a pulp for not paying, never finding out they’ve been given a bum steer by Bill. Oddly enough, both Wynn and Whitmore come off as more comical than menacing, as per script, and audiences can’t help but like them. Broadway fans will like that icon Bob Fosse made his first film appearance in Kate as one of Bianca’s suitors, Hortensio to be exact, and even in this small role, his song and dance talent can be clearly seen. Kurt Kasznar, known to most people as the bumbling and shifty Mr. Fitzhugh in Irwin Allen’s Land of the Giants, plays another unnamed actor playing the role of Kate and Bianca’s father Baptista. This guy clearly has no clue Fred and Lilli are at the breaking point of civility to each other, and shows the professionalism of actor’s by trying to keep the show going in spite of the mayhem.
All The World’s A Stage (from The Blonde at the Movies)
The film is a highlight of the Golden Age of Musicals, along with Singin’ in the Rain, The Band Wagon, and Easter Parade, and while some of the film’s content can be seen as dated, old fashion, and borderline sexist/chauvinistic, the music and performances make up for the flaws, and the flaws of course can also be overlooked as an object of the time it was made in. It’s surprising the Musical didn’t do more in the 3D realm as 3D was perfect for the genre, allowing for the gimmicks to used in believable ways that didn’t look like playing to the camera.
(I do highly recommend this very well done Musical for anyone who likes the genre, and for those looking for a good place to start with it. There are some clichés involved with it, and some material that is dated, or hasn’t translated well for future viewers, but the film overall can still speak to many generations about the pratfalls of being in the theater, and how temperament amongst actors can make or break both personal and professional relationships. I do this one in honor of one of my more recent Followers Master Mix Movies, who loves all sorts of genre cinema, and seems to really like films that mix genres together, so I hope he takes a liking to this one. There is a Blu Ray available from the Warner Archives label, and while the transfer of the film is immaculate, only the original 3D print is used for the release that requires the specialized 3D TV and 3D capable Blu Ray player. The original release Blu Ray had both the 2D and 3D versions, but has long been out of print. The DVD is still a great option as it has the same transfer of the Blu Ray, but is the 2D version.)
all images courtesy of Google.com/Google Images and their respective owners
(WordPress Followers Appreciation #2: Diary of a Movie Maniac)
(all opinions are of the author alone)
(Mild Spoilers)
(Review is of the original Italian language version)
Original Italian Poster
Tomas Milian: Maresciallo Nico Giraldi
Jack Palance: Norman Shelley/Richard J. Russo
Maria Rosaria Omaggio: Signorina Cattani
Guido Mannari: Achille “Baronetto” Bertinari
John P. Dulaney: Ispettore Ballarin
Marcello Martana: Maresciallo Trentini
Roberto Messina: Commissario Tozzi
Raf Luca: Brigadiere Gargiulo
Jack La Cayanne: Colombo
Written by: Mario Amendola & Bruno Corbucci
Directed by: Bruno Corbucci
Synopsis: Nico Giraldi, head investigator of the Anti-Mugging Squad, is determined to bring down the elusive gang leader Baron, whose broad daylight robberies have spiked ten fold. When Baron and his boys steal a briefcase full of smuggled money from an incognito American gangster, Giraldi now must save Baron’s life when he and crew are marked for death the man.
Giraldi berating a subornment for letting his bike be stolen (from Rarbg)
Bruno Corbucci, the younger brother of Sergio Corbucci, made a clear break from the elder’s shadow with the first in a series of tongue-in-cheek action cop films starring the great Tomas Milian that fast became one of the most popular franchise in the 70’s. The film came about after Milian expressed admiration of Al Pacino’s look and performance as real life undercover cop Frank Serpico a few years earlier. Milian had in fact wanted to do a sequel playing Serpico, but copyrights prevented this from happening, so Corbucci drafted a treatment with Milian playing a reformed hoodlum now working as a cop who models his appearance after the film about Serpico. The Poliziotteschi film genre was still at its peak by the time the first Giraldi film was written and being shot, but Corbucci, Milian, and writer Mario Amendola decided to make the film a little more lighthearted than its edgy predecessors and contemporaries, mixing the exciting action everyone expects of the genre along with witty dialogue from the protagonist. This allowed the film to stay true to its origins, but at the same time spice it up enough that it wouldn’t be viewed as another generic entry.
Giraldi and his partner Ballarin (from Grindhouse Cinema Database)
Star Milian makes excellent use of Roman slang in this film, one of the earliest in his uncredited contributions to the films he made. While he was proficient in the usage of Roman street lingo, Milian’s Cuban accent didn’t fit, so he asked comic and film dubber Ferruccio Amendola to be his permanent Roman voice. Amendola and Milian already had a contract for this, but as Milian added more Roman slang for his characters with the directors and screenwriters permission, Amendola’s voice fit what Milian had envisioned.
Giraldi chases after a suspect (from Alchetron)
Milian delivers a unique performance in the role of Nico Giraldi. Normally very animated whenever he plays a character in a film, Milian keeps a straight face this go around, even when clearly delivering some amusing dialogue. Giraldi is an ex small time hoodlum who uses his street smarts in his new profession as a plainclothes motorcycle detective handling street crime. Giraldi feels the only way to stop the rampant stream of daylight robberies via crooks on motorbikes is to take down the head man, known only as Baron. His superiors aren’t crazy about many of the methods he uses, particularly cuffing suspects via looping their one arm between their legs so they can’t run, but because of his dedication to cleaning up the city and being knowing the mind set of criminals from having been one once, they allow him to operate how he feels best. It isn’t long before Giraldi discovers he has to save Baron’s life before he can arrest him when the hoodlum and two of his crew nab a briefcase full of illegally imported money from a corrupt American living in Italy, and the man orders his goons to hunt down and kill the thieves. What follows for Giraldi is an interesting and different journey through the world of fencing and smuggling, hoping to get to his long time quarry before an even deadlier criminal can get his hands on him.
The elusive Mr. Shelley (from Severed Cinema)
Jack Palance, an American character actor who had a 40 plus year career, enjoying success in both the States and Europe, appears sporadically, but effectively when on screen, in the role of Norman Shelley, sometimes called Richard J. Russo. Little is known of what Shelley does for a living, save that he’s seen with some big business types, so he must be into something lucrative. In reality, he uses whatever he does as a cover for many an illegal activity, including laundering money and smuggling. Like a Mafia boss, Shelley doesn’t take betrayal and deceit lightly and does whatever it takes to ensure loyalty. When one of his consignments is lifted from him by the gang led by Baron, Shelley, to keep his real dealings secret, orders his cohorts to track down and silence everyone involved in the theft. His cover is soon to be blown however, when Inspector Giraldi’s Anti-Mugging unit suspects something big when the hoods involved with Baron start turning up dead.
Giraldi visits his Aunt (from 10KBulletts)
The beauty of Milan is on display in the film, and unlike most other Poliziotteschi, the film shows the everyday areas of the city, not the seedy ends. The criminal element is still shown, but not in a way that would make those who’ve never been to Italy leery about carrying around anything valuable for street punks to steal.
The Baron is in over his head (from Severed Cinema)
The mix of action and humor works very well in this film, and allows viewers to root for the cops to win via a lighthearted escapade that still pumps out the thrills all cop films are known for.
(Fans of Italian Crime cinema and fans of Tomas Milian will get a kick out of the film and find it very enjoyable from start to finish, and I highly recommend it. Those wishing to get started with the genre will find this film a good place to start as it has all the themes the Poliziotteschi offers, minus the heavy edges fans will want to slowly get into. The Blu Ray from Cineploit Records offers a solid transfer of both the audio and visuals of the film, almost pristine. An hour long interview with character actor John P. Dulaney who plays the small supporting role of Ballarin is the main extra on the disc, and very worth a look in its own right as an insight into the studio system in Italy from the point of view of an actor who worked there. This write up is dedicated to Eric Binford – Diary of a Movie Maniac, who does quite a bit of crime, action, and Noir on his blog. I will admit I had intended to include Squadra in my Italian Crime series, but seeing how it had a much more lighthearted and less edgy feel, than others of the genre, I felt this would be something right up Eric’s alley and allow me to give the film a good expose.)
All images courtesy of Google.com/Google Images and their respective owners
Catherine Deneuve: The Princess/The Blue Queen I (the Mother)
Jean Marias: The Blue King
Jacques Perrin: Prince Charming/The Red Prince
Delphine Seyrig: The Lilac Fairy
Jean Servais: The Narrator (Voice)
Micheline Presle: The Red Queen/The Blue Queen II
Fernand Ledoux: The Red King
Henri Cremieux: The Blue King’s Physician
Sacha Pitoeff: The Minister
Written & Directed by Jacques Demy, based on the fairy tale by Charles Perrault
Synopsis: A beautiful princess, with the aid of her fairy godmother, flees via disguise from her father the king, whom has been wrongly advised to marry to marry. The fairy godmother then secretly guides a prince to save the princess and restore harmony to the land.
The Princess incognito (from Blu Ray.com)
Jacques Demy, a Nouvelle Vague Français era filmmaker who rejected the movement in favor of his love of Classic Hollywood, briefy tried his hand at fairy tales in the early to mid 1970’s. His first outing in this trial was Peau d’Ane, a lesser known fairy tale from his home country. For about 40 to 50 years at the time, many fairy tales that were made into films were often sanitized as the key audience for them were children, but Demy broke this mold by taking on the darker elements these classic tales had lurking beneath, and confounded both viewers and critics alike by making his adaption with the lightheartedness and whimsy accepted for the kinds of films sold to children. Demy’s heroine is a beautiful princess caught in a difficult situation when, after her equally beautiful mother dies of an unnamed illness, her distraught father the king is falsely led to believe his promise to marry someone as beautiful as his wife can only be kept if he marries his own child. Loving her father dearly, but also knowing what she’ll be asked of is wrong, the princess flees her kingdom, helped by the Lilac Fairy, under the guise of a scullery worker called Donkey Skin (because of the donkey hide used to conceal herself). What follows is carefully executed plan by both Demy and his intelligent Fairy Godmother to weave a classic story, and take it in a new direction.
Drawing from an early story collection (from Castel Volante)
Charles Perrault, the classic age French writer who penned the classics Cinderella, Sleeping Beauty, Little Red Riding Hood, and Puss in Boots also wrote Peau d’Ane. While fairy tales are indeed spun for the young and the young at heart, Perrault, much like his successor Hans Christian Andresen, delved into pretty frightening, dark, and taboo material that today surprises many people. While it’s still debated whether Perrault hid these details through creative wording or that such material was seen as necessary to aiding children in their adult years, he, like his contemporaries and successors, gave the world many memorable and beloved tales that not only sent many or magical and whimsical journeys, but also gave others thought provoking items to consider.
The Princess Making Herself Pretty (from Letterboxd)
The Princess Hiding Out as Donkey Skin (from Slant Magazine)
Catherine Deneuve, an icon of French Cinema, gives one of her most unique performances as The Princess, her Mother the First Queen, and Donkey Skin. Deneuve distinguishes her Princess from the ones commonly showcased in fairy tales and legends by having her be intelligent, resourceful, and selfless. Her willingness to live a life incognito, working hard like the peasants of the land to avoid a wedding that would do more harm than good for herself, her father, and the kingdom makes her a heroine that has earned audience sympathy and support. She’s not arrogant like other princesses, has no issues dressing in commoner garb, and accepts orders from the various homes she asks for work in like any other servant. In a way this is a sort of martyrdom, as she’s convinced her father can’t be dissuaded from the act of incest. When she meets her true love the Red Prince after having gotten a job in his father’s stables, he begins to fall in love with the person she is, seeing all her remarkable qualities, thus paving the way for a happy return.
The King top a Giant Cat (from Midnight Only)
Jean Marias, a French cinema leading man who began his career with the legendary auteur Jean Cocteau, returns to his fantasy roots with the role of the Blue King. A good man who treats his subjects well and keeps harmony and peace within his kingdom, the Blue King so far fits the profile of the kind of ruler every monarch based country should have. When his beloved Queen dies suddenly, he becomes depressed and lost in his grief. Promising his beloved he would only marry a woman who matched her beauty, the King gets some very bizarre and not at all helpful advice from his astrologer doctor that the only way to keep his promise is to marry his own daughter. So lost in his sadness he somehow agrees to this, and his kingdom ends up in a kind of turmoil as the Princess’ self exile to avoid such blasphemy causes much sadness. With the aid of a neighboring monarchy and the Lilac Fairy, the King slowly begins to realize his error, and slowly all begins to become right again.
Top: The Red Prince (from the IMDb) Bottom: The Lilac Fairy (from French Culture.org)
Jacques Perrin and Delphine Seyrig offer nice supporting roles as Prince Charming and the Lilac Fairy respectively. A Fairy Tale isn’t complete without Prince Charming, and Perrin gives audiences a nice mixture of a classic Fairy Tale princes and modern thinking prince. A recurring dream has the Prince taking his trusty stead out daily in search of the beauty who he believes is destined to be his bride, and while he comes up short each time, delights in sharing his dreams with the local animals in the forest, whom help when they can in the Prince’s searching. He at first is bewildered by his attraction to the new stable maid Donkey Skin, but after spending time speaking with her, comes to admire her, and soon is made aware of her real identity and helps her restore the balance and harmony to the land. Miss Seyrig’s Fairy Godmother is an absolutely brilliant character by Demy, offering up both the motherly qualities of the classic fairy protector, and the resourcefulness of New Age Women. Seyrig enchants with both whimsy and beauty as she works behind the scenes to ensure all the characters happiness, while also teaching the Blue King some very valuable and humbling lessons.
The Court of the Red Royal Family (from Ecstatic-Blogger)
Jacques Demy once again proves to audiences that just because certain stories are from long ago, doesn’t mean that freshness can’t be brought to them, and gives them one part classic nostalgia from their youth, and one part current vibe to fit the era he makes his films in. Near flawlessly mixing the classic with the contemporary, Demy reminds his viewers why he is the master of the modern fantasy, the modern musical, and the modern Fairy Tale.
( I highly recommend this film to anyone looking for nostalgia with a hint of reinvention, anyone who loves French Cinema, lovers of Catherine Deneuve (like myself), and anyone just looking for something unique. The Criterion Collection Blu Ray, via their Essential Jacques Demy Box Set, offers their usual amazing work in the audio and visual department, Demy’s use of color looking as vibrant and crisp as ever. This write up is done in honor of one of my more recent Followers, Yolanda – Aspergers syndrome – Poetry – Alternative female – Mental illness, specifically the Alternative end of her blog. From what I’ve seen so far of her posts so far, she seems to go for anything recognizable to folks, but in a new and different approach. I think and hope that she’ll appreciate this different flavor to a take on the classic genres of film.)
All images courtesy og Google.com/Google Images and their respective owners
I’ve had a lot fun recently playing The Ghostbusters Video Game on my XBox the last couple of months, and it’s led me to read a little more about the first film, which the game mainly acts as a sequel of.
An Overzealous Peck (from Movie Beards)
One thing I was fairly struck by was the considered view that sidekick antagonist Walter Peck was in some ways right in his treatment of the Ghostbusters. Now pushing aside for the moment the fact that Bill Murray’s Peter Venkman is an annoying lothario hack who’s into the fame Ghostbusting brings him and makes even an ardent Pacifist want to hit him, let’s look at some of the items that fans consider relevant.
Who’s the More Annoying? (from Looper)
LACK OF FUNDS AND TRAINING
First things first, let’s talk about the Ghostbusters’ lack of testing and facilities. Peck’s innuendos of everything not following protocol may be legit, but’s forgetting statements made by the team earlier in the film. Ray and Egon, the most qualified members of the team, made several applications for grants, funding, and adequate periods of training and testing and research, but were always turned down because of their former university colleagues statements of them being crackpots who’s research had no legit grounds for such investments. With having to go the route of acting as a privately run and operated organization that must adhere to state wide business requirements to prove their research and evidence is conclusive, that leaves very little time to go into the kind of research, testing, and cataloging that goes on in most, if not all, scientific endeavors. Remember that the team, Ray and Egon in particular, have done their homework, engaged in research, and went through the required approval of various security organizations to obtain the equipment they needed to operate. Those two are legit, even if academically discredited, scientists, and aren’t going to jeopardize themselves by going through areas that would have the FBI and CIA poking their noses in.
The Peck Hits the Breaking Point (from The Comics Agenda)
With all of this in mind, wouldn’t anyone think an organization like the EPA would give a struggling outfit like the Ghostbusters time to work out what they need to as they’re clearly underfunded, and won’t be getting any help from the State of New York or the various universities at the moment. Yes the quartet needed to take time to become more familiar with they’re equipment and material, but when you’re being called crackpot, your theories called a pseudo science, you’re looking at being shutdown any minute for not being able to prove your value, and of course a massive end of the world scenario looming over, you don’t have time for the basics.
The Peck in Video Game Form (from ArtStation)
LESS THAN SAFE PROCEDURES and HOUSING
This goes a little into the lack of funding field too, but deserves its own section. Peck is right in that the Containment Grid and much of the other items the Ghostbusters have could use a lot more testing and inspection, but again, when you’re an underfunded organization not given the same consideration as other outlets, what is available has to spent on the absolute necessities. The team has to make due with what it has, and sadly it isn’t enough. Again, Ray and Egon are the most experienced men of the outfit and have pretty clear cut ideas about how to protect both themselves and the citizens of New York City, so even if the material doesn’t meet the exact standards a group like the EPA would deem appropriate, it still does the job regardless of worry by an individual like Peck. With the Containment Grid, Ray and Egon were explaining in detail to Peck what would happen should it just be “Turned Off” but Peck’s general attitude and hatred of Peter Venkman made Peck’s judgement worse.
You’re Outta Here, ya Peck!! (from Pinterest)
Now in all likelihood Peck’s singling out of the Ghostbusters is primarily based on his utter hatred of Peter Venkman and the embarrassment he suffered via Venkman’s rudeness, as well as not being able to prove the power of Gozer a hoax. I firmly believe he only wants to fire and imprison the others just to pay back Venkman and give him the same feeling of embarrassment he gave Peck, letting his professional pride snub cloud his judgement over the bigger issues, revealing he’d rather be thrown under the bus by the Mayor and other city officials as the sole bearer of the problem than have to admit he made a huge mistake. Ray and Egon on several occasions earnestly tried to be the voices of reason, with Venkman only making things worse and causing the normally level-headed Egon to attack Peck when Peck made a degrading personal insult to him.
(Please note that this is primarily my personal opinion rebuttal to the looper article and I do not in any way state that this is how others feel. Please feel free to constructively criticize the piece if there’s anything I missed here [please remember to be kind here folks]. This is in now way canon and my own ideas regarding from what I’ve seen of the film and the game sequel, I could be totally wrong and be perfectly fine with it. Thanks for tuning in this month, and any apologies for the more sporadic postings as things my way have been fairly crazy busy. HAPPY HALOWEEN!)
All images courtesy of Google.com/Google Images and their respective owners
(Author’s Note: This review will be a little different, as I feel to relate the film is to speak of personal viewpoint, so here I’ll be speaking in the first person for much of the review)
A US Poster (from YouTube)
Lisa e il Diavolo (Lisa and the Devil) (1972/73) ****1/2 R
Telly Savalas: Leandro, the Butler/A Demon
Elke Sommer: Lisa Reiner/Elena, Max’s Wife
Alessio Orano: Max, the Countess’ Son
Alida Valli: The Countess
Sylva Koscina: Sophie Leher
Eduardo Fajardo: Francis Leher
Espartaco Santoni: Carlo, Countess’ Husband
Gabriele Tinti: George, the Leher Chauffer
Franz von Treuberg: The Shopkeeper
Kathleen Leone: Lisa’s Friend (as Kathy Leone)
Written by: Mario Bava & Alfredo Leone (as Alfred Leone)
Directed by: Mario Bava
Synopsis: A woman finds herself put through a night of bizarre terror and the supernatural while spending the night at a decrepit villa of a creepy Spanish noble family
The Countess recalls the Past (from the IMDb)
After years of having his films compromised by Samuel Z. Arkoff and James H. Nicholson for American distribution, Mario Bava finally achieved complete creative freedom for exhibition in both Europe and the States with his newest film Lisa e il Diavolo. Bava had the concept for the film in his head for years, having jotted down notes and a treatment throughout the years, but couldn’t convince anyone to back the film due to its artistic and experimental nature. The picture finally got greenlight after Bava had a string of successes and one of the Italian studios offered him the opportunity to make any film he wished. What audiences of the time were treated to was a series of surreal imagery and story that had them struggling to comprehend what they were seeing. This botch at the box office caused Producer and co-writer Alfredo Leone to make changes to the film without contacting Bava and the subsequent mess that resulted from the changes led to the first of Bava’s descent into poor health and a heart attack. Not until Bava’s passing was the original film praised.
The Weeds of Time (from Tumbler)
The film is very hard to explain, Bava employing the painterly qualities he learned from his father to the overall look to the piece. This makes the film seem much more akin to a puzzle that even I your humble reviewer had trouble deciphering. This doesn’t take away from the films’ beauty at all, and it is indeed very much a painting brought to life the way only a mind like Bava’s could achieve. What we the audience end up seeing on screen is a version of Hell in its most devilish form, the realization all of these characters are being forced to relive their horrific deaths night after night as punishment for their sins in life. Whether they try every night to escape their fates isn’t determined, but what we do know is that at least two of the characters are aware of what is really happening, with the littlest of hope they can change history.
Devilish Hands at Work (from the IMDb)
Telly Savalas, one of the most iconic character actors of several decades, gets to play in his one and only avant-garde artistic style role with the part of Leandro the Butler. Whether he is Satan himself (as the fresco in the film’s opening suggests) or A demon sent by Satan to ensure history is repeated daily is unknown, but it is clear he holds permanent dominion over this disturbed family and the unfortunate guests who happened to become ensnared in events, and is loving it. Amazingly, Leandro in no way manipulates the events to ensure the Horror of these poor souls continues, and seems to only be a presence that moves in and out of the scenes, interacting with the others when necessary.
(Author’s Note: The lollipop that would become Savalas’ trademark as the character of Kojack originated in this film. Savalas was having difficulties giving up smoking, and Bava recommended he suck on lollipops as a substitute.)
Going Deeper into the Madness (from the IMDb)
Elke Sommer, the Austrian beauty, reunites with Bava a year after working with him on Gli Orrori del Castello di Norimberga (The Horror of Nuremburg Castle/Baron Blood) in the role of Lisa. Very little is known about Lisa, other than that she decided to spend her vacation in Spain, which makes her ending up at the villa and her subsequent connection to the other participants even stranger as there’s no way to figure out how this is all happening. Sommer has very little to almost no dialogue in the film, making her like Leandro in that everything seems to happen around her, making her the central figure.
The Blind Countess (from the IMDb)
The Unstable Max (from Horromews)
The Lovely Sophie (from the IMDb)
Francis and Leandro (from il Davinotti)
The two leads are joined by such performers as Alida Valli, Eduardo Fajardo, Sylva Koscina, and Alessio Orano. These players at one time or another engaged acts of infidelity, betrayal, and murder, and are forced by the power of the Devil to relive those sins, and the deaths they suffered because of them in an immortal loop, dying only to return to life not long after to begin the tragic cycle all over again.
House of Puppets (from the IMDb)
Mannequins play an important role in the film as since the majority of the characters are long dead, the life size figures act as recreations of the deceased, fixed and brought back to life by Leandro, once every murder has been committed. How Leandro does thins is never explained, only that each figure is created by a local shopkeeper to fit the likeness of the participants, and then animated by unknown forces.
Tragedy Lies Behind this Beautiful Facade (from Tumbral)
Like I said in the past , how each viewer interprets a film is based on their own experience, and Lisa e il Diavolo is the ultimate example of this. It can be really difficult to explain this one without giving your own opinion as the imagery Bava goes with is very visceral and is nearly impossible to be objective when discussing it. Since Bava made the film with no audience in mind and truly did make something he himself wanted to see, it makes pinpointing something exact hard. If Bava truly intended for this to be the type of film that every viewer would have a different perspective on after seeing it, then he succeeded a 100 times over since his death in 1980 as the film does continue to fascinate, unnerve, and confound people.
(This film isn’t for everyone, but those who do see it, while bewildered, do come away with interesting experience that leaves them thinking about the film for a long while after seeing it. The Blu Ray from Arrow Video is fairly immaculate, only small hints of age and wear present.)
all images courtesy of Google.com/Google Images and their respective owners
Ewa Stromberg: Linda Westinghouse (as Ewa Stroemberg)
Dennis Price: Dr. Alwin Seward
Paul Muller: Dr. Steiner
Heidrun Kussin: Agra, Nadine’s Mad Lover
Andrea Montchal: Omar, Linda’s Boyfriend (as Viktor Feldmann)
Jose Martinez Blanco: Morpho, Nadine’s Servant (as J. Martinez Blanco)
Jesus Franco: Memmet, the Mad Caretaker
Written by: Jaime Chavarri, Jesus Franco (as Franco Manera), and Anne Settimo, from a stroy by Chavarri and loosely adapted from Bram Stoker’s Dracula and J. Sheridan le Farnu’s Carmilla
Directed by: Jesus Franco (as Franco Manera)
Synopsis: Real Estate agent Linda Westinghouse is sent by her company to arrange the selling of a property owned by Countess Nadine Corday. The two quickly become romantically involved, only for Linda to discover Nadine is a vampire, turned by the late Count Dracula himself, and is now under her hypnotic influence. Complications arise when Nadine finds herself genuinely falling in love with Linda, while Linda’s boyfriend and a local doctor attempt to free her.
Hiding from Religion (from American Genre Film Archive)
Jess Franco’s first full on attempt at mixing avant-garde cinema with exploitation cinema is an amazing achievement which showed what Franco was capable of when given the right amount of time and freedom, and offered a pen-ultimate showcase of the talent that Soledad Miranda was fleshing out prior to her tragic death in a car accident. Taking elements from both Stoker’s Dracula and Le Farnu’s Carmilla, Franco and his co writers create a story that, while very basic in both subject and execution, offer up quite a bit of subtext, and deep emotion underneath the surface that while doesn’t seem to show itself as the film is being viewed, becomes clear to the viewer after thinking about the film for some time afterwards.
Countess Nadine Corday played by the ravishing Soledad Miranda (from Midnight Only)
Soledad Miranda, using the stage name Susann Korda, offers up one of her most subtle, compelling, thought provoking, and finest performance as Nadine Corday. A Countess by birth and once a human, Nadine was turned sometime in the 18th or 19th century by the infamous bloodsucker Count Dracula, and has since seduced and fed on mainly female lovers, having grown to hate men after Dracula betrayed her. Miranda’s soulful and hypnotic look serves the character of Nadine well, and while the actress shows very little emotion, half her choice and half Franco’s choice, there are still many moments where Nadine is clearly in conflict with herself over many of her choices since becoming a vampire, and hasn’t completely lost her humanity in how she feels about certain characters, particularly with Linda and the man servant Morpho. Possibly the only contradiction to her character concerns a woman named Agra, one of Nadine’s former lovers. Like Dracula had done to Nadine, so had Nadine done to Agra and abandoned her, leaving her to be caged in a mental institution. Whether she regrets this entirely is unknown.
A Spiritual Ritual….with Blood (from Mondo Digital)
The first in a brief cycle of Franco themes in his experimental age is a female vampire existing in both daylight and night. Whether it began as budget constraints based upon the time frame he had to shoot on location with, or if it really was an artistic decision, Nadine Corday seems to be the first Franco vampire to have transcended the majority of limitations with the species and is able to function as a normal woman within society. That she still needs blood as her sustenance and both religious iconography and prayers repel her maintain the flaws of the vampiric people.
Linda Becoming Nadine’s Lover (from High Def Digest)
Ewa Stromberg, a Swedish actress who briefly acted in the 60’s and 70’s get one of her rare major roles in the part of Linda Westinghouse. Little is known of Linda’s life prior to the events of the film, but from all accounts she appears to have led a normal, uneventful, and maybe even boring life with her boyfriend Omar, and it all changes in an instant when she meets Nadine. What makes Linda different to most objects of a vampire’s desires is that she appears to be a fairly willing participant after a brief period of time. Like Nadine, Linda too begins developing real and genuine romantic feelings, but because she isn’t completely under Nadine’s thrall, is able to overcome the influence while recovering from blood loss and exhaustion. Unfortunately, Nadine won her heart fairly and now Linda must decide if she can muster the courage to free herself from damnation, and maybe give Nadine the freedom she felt lost to.
The Dubious Dr. Seward (from Mondo Digital)The Mistress and Her Servant (from Mondo Digital)
The two lovely female leads are joined by an eclectic cast of characters including British expat actor Dennis Price, Swiss-German actor Paul Muller, Spanish actors Andres Montchal and Jose Martinez Blanco, two trying desperately to save Linda, one trying to aid Nadine in her plans, and another out for himself. Price is particularly effective as a play to the Dracula character Dr. Seward, this go around called Alwin Seward. Unlike the literary counterpart, this Seward isn’t entirely what he seems, and his methods are equally strange in getting to the bottom of things. The remaining cast seem to have little to do, but are still good at their respective parts.
The color red plays a very pivotal role in the film. Often used as the lighting in a room, the color of clothing, or in the form of liquid, red is ever present in the world Nadine Corday. Red showcases the always lurking aspects of life, death, love, blood, sex, death, immortality, and the erotic, acting as a symbol of what human life can never truly break away from, and that in spite of humanity’s evolvement in morality and behavior, is always there, waiting and watching in silence.
A Tragic Love Story (from Genre Grinder)
While aspects of Homoerotic and Lesbian romances have always had a thin veiled presence in the cinema, usually subtly hinted at, Jess Franco broke a major boundary by having the Nadine and Linda characters openly, and very explicitly, engage in a sexual relationship. A sometimes forgotten aspect of Horror films is that occasionally at the heart of them is a tragic, dark, and twisted love story, and the one between Nadine and Linda is no different. What begins as a simple seduction to quench an everlasting need for blood to survive turns into a love that likely can never be for Nadine, as for her to do so would mean killing the woman she loves, thus losing the innocence and purity that made said love possible. For Linda, her unintentional falling in love presents a major complication: does she want to be free to be with her boyfriend, or will she want to succumb to most forbidden temptation to be one of the damned to live forever.
A Symbolic Representation of Light and Darkness (from High Def Digest)
One of Jess Franco’s more hypnotic films, and one that keeps a coherent narrative floating in the midst of varying symbolism and surrealistic imagery, VL proves to be a somewhat lesser feat of artistic achievement and showcases what Franco could’ve achieved had events not taken a tragic turn.
(This is another occasion where I feel I can’t recommend a film to everyone in spite of its fine quality and quantity, only because Franco’s latter period is clearly not to everyone tastes, even with higher production values and the feeling that though there’s an exploitive feel to the film, the film doesn’t showcase it for its own sake. Again, it’s one of those films that what you’re supposed to be looking for isn’t present as you’re watching it, but will start to become clearer as you go through everything you’ve witnessed afterwards. This is another example of sometimes having to really make your own choice, even if the majority says it is a film to start with regarding Franco.)
all images courtesy of Google.com/Google Images and their respective owners
Armand Lurville: Un Juge (A Judge) (as Andre Lurville)
Written by: Joseph Delteil & Carl Theodor Dreyer (transcribed from the real court documents)
Directed by: Carl Theodor Dreyer (as Carl Th. Dreyer)
Synopsis: Faithfully reconstructed from the real court documents, the trial, sentencing, and execution of French heroine and saint Joan of Arc is subtly re-enacted.
Joan Preparing to Give Her Testimony (from Denise Likomeno’s WordPress Page)
This take on my Take a Film Dare Challenge will be a little bit different in that I’m going into the past and speak about a film I wasn’t sure I’d have liked even after quite a few years.
Jean Massieu, the Only One on Joan’s Side (from RareFilm)
I had first seen Danish film icon Carl Th. Dreyer’s masterpiece late one night when I was in grade school on Turner Classic Movies with my Dad. I knew about Jeanne d’Arc from school and of course the History Channel (back when it actually showed good History programs), so I had a fairly good idea about what I was going to see. I was really struck by the use of close-ups of the faces, particularly that of Ms. Falconetti, but after about 20 minutes or so, I didn’t think the film was going anywhere and I ended up going to bed a little later.
Massieu Attempts to Comfort Jeanne (from Facebook)
As I was finishing High School and going into college, I started reading a little more about Dreyer and his film about Jeanne, and was starting to reassess my original thoughts of it, and it was in 2012 while taking a Women in History course I became re-immersed in the story. Our main grade was going to be based on a paper we did on famous female figure in history, and I ended up picking Jeanne. Making a mention of Jeanne in the world of TV and Film, I finally decided it was time to give that Silent film another try.
A Guard and Inquistor Look on as Jeanne Prays with the Monks (from Kids Britannica)
For the Christmas of 2012, one of my gifts was the Criterion Collection DVD of The Passion of Joan of Arc and the day after the holiday while my parents were out to the theater seeing the film musical Les Miserables I spent the evening watching the DVD. The second go around was a much more pleasurable experience than all those years ago, partly because I was older now and became more knowledgeable when it came to cinema, and cause I was more open to the experience of Dreyer’s style of filmmaking. The one thing that didn’t change for me was how horrible the score that was used for the film was, and I spent my re-watch listening to the audio commentary from historian and Dreyer biographer Casper Tybjerg.
Jeanne’s Ring is Stolen by the Inquisitors (from fansshare)
Renee Falconetti perfectly embodied the spirit of Jeanne (from
The use of close-ups held more of an impact the second viewing, coming to realize Dreyer was recreating the tension, claustrophobia, and suspense that Jeanne must have felt during her trial and execution. Renee Falconetti’s performance as Jeanne is breathtaking, near perfectly identifying with the courage, fear, despair, hope, and resoluteness that was the Maid of Orleans. Never before had an actress been able to draw audiences so close to a real life figure and be able to identify with her on a real intimate level. Only Albert Dieudonne’s performance as Napoleon comes close to what Falconetti achieved with her body language and facial expressions.
The end draws near for Jeanne (from Philharmonie de Paris)
I can definitely my opinion changed on the film, and for the better, as I came to understand for the most part what Dreyer wanted to achieve with the film and how he pulled it off so seamlessly. This certainly isn’t the first time a film I wasn’t sure of previously had come to work for me, but this one was the first to have a great impact on me. I highly recommend anyone to check this one out, and to definitely either the Criterion Blu Ray or Eureka! Blu Ray as they offer multiple score options over the Voices of Light that, while impressive, takes away from the film.
Please feel free to list your own experiences in the comment section, or leave a link in the comment section if you wish to take the Film Dare Challenge
All images courtesy of Google.com/Google Images and their respective owners
(The Cycle of the Melodic Gialli: The Lenzi/Baker Edition 4)
(All opinions are of the author alone)
(Mild to Spoiler Free)
(Review is of the Italian language version)
Original Italian Poster (from the IMDb)
Il Coltello di Ghiaccio (Knife of Ice) (1972) ****1/2 PG-13
Carroll Baker: Martha Caldwell
Alan Scott: Doctor Laurent
Ida Galli: Jenny Ascot (as Evelyn Stewart)
Eduardo Fajardo: Marcos, the Chauffer
Franco Fantasia: Inspector Duran
George Rigaud: Sir Ralph Caldwell, the Uncle
Silvia Monelli: Anna Britton, the Maid
Lorenzo Robledo: Assistant Inspector Maler
Mario Pardo: Randy Mason
Jose Marco: Farther Martin
Rosa Maria Rodriguez: Christina Martin (as Rosa M. Rodriguez)
Written by: Umberto Lenzi, Antonio Troiso, & Luis G. de Blain
Directed by: Umberto Lenzi
Synopsis: Left mute for 15 years after witnessing her parents die in a train fire, Martha Caldwell has lived a secluded life. After her cousin, a popular singer, is murdered while visiting her, both Martha’s uncle and a local police chief initially believe a Hippie Satanist is to blame, but the truth may be far more shocking.
On the Trail of the Killer (from Subtitle Live)
Umberto Lenzi’s last collaboration with Carroll Baker, Il Coltello di Ghiaccio combines all the methods and style Lenzi used in their previous films together to create a truly intricate and baffling case worthy of the efforts of Agatha Christie. This time taking the story to Spain, Lenzi decided to have the McGuffin scapegoat be that the culprits were Satanists trying to form a cult in the area, a real risky move as dictator Gen. Franco saw such items as defamatory to his “perfect” country. Another nod to Agatha Christie, Lenzi uses a successful series of red herring’s, essentially making every character, save the police and two or three secondary/minor characters, a plausible suspect, having them engage in behavior that is clearly odd and incriminating. The investigation turns into a frantic chase against the clock as two more women are reported dead, and evidence a drug addict Satanist is roaming the area becomes clear, leaving Martha and a young girl she cares for in danger.
Are These the Eyes of a Killer, or of a Druggie? (from Dread Central)
Interesting enough, about a third of the cast with speaking parts are Spanish speakers. By the time the Giallo sub-genre really began taking off, the casts were made up primarily of Italians and two to four Americans, though the years between 1968 to about 1972-73 did sport 1 to 2 Spanish speakers in the cast. Co-productions between Italy, Spain, and Germany were waning a little at this time mainly due to financial reasons, and what was in vogue for audiences, so multiple countries coming together for a production didn’t seem as necessary by the mid-seventies.
Martha Blasts a Car Horn in Leu of Screaming (from BMANIA)
Carroll Baker, in her final collaboration with Lenzi, gives one of her finest and most nuanced performances in the role of Martha Caldwell. Lenzi and Baker even give subtle hints that this was the end of their initial partnership by having her not utter a word of dialogue until the very end of the film, her playing the majority of the part as a mute. Baker playing Martha as a trauma induced mute allots her the ability to put her full range of Actor’s Studio training to complete effect, communicating to others with hand & facial gestures, the use of objects against telephone receivers and other surfaces, and of course pen and paper for responses she can’t gesture or movement mimic. Haunted by a tragedy that was unpreventable, Martha goes through life unable to speak, forced to be silent in a speaking world, only wishing to be able to use her gracious voice again. She keeps her spirits up with charity work and taking small steps to get well. What seems like an entirely peaceful weekend with her famous singer cousin, soon becomes a race to stop a maniac when the cousin is found dead, and Satanic symbols found nearby, evil rituals are believed occurring. Why Martha becomes a victim of an unknown killer is left ambiguous until the very end, and even then the reasons are very dark.
(Author’s Note: This is the only film in Lenzi & Baker’s collaborations where Baker doesn’t get nude)
A Much Needed Family Reunion
Another key element to show that the film would be the last of Lenzi and Baker’s initial collaborations was Baker’s dubber. Her voice was normally dubbed by Rita Savagnone, who on this occasion dubs Ida Galli, hinting both clear departures from the norm and a fond farewell. Maria Pia Di Meo, another iconic Italian actress and voice dubber takes the duties of looping the few lines of dialogue Baker does get to speak towards the end, having an equally enriching voice like Savagnone, which also does justice to Baker’s fire and passion.
At the Wrong Place at the Wrong Time (from Twitter)An Eccentric Employee, or a Cold Blooded Fiend? (from RaresMovies/Over-Blog)A Concerned Uncle Argues with the Investigator (from AvaxHome)
An Honest Doctor Must Clear Himself with Aid from the Police (from Tumblr)
Baker is joined by a stellar cast including Ida Galli, Eduardo Fajardo, George Rigaud, Alan Scott, Franco Fantasia, and Lorenzo Robledo. Galli (under her Anglo stage name Evelyn Stewart) plays Jenny Ascot, Martha’s cousin. A singer of both religious and popular melodies who travels all over for concerts, Jenny is a model of what all people aspire for in talent. When she takes a vacation to visit her cousin and uncle, she is killed, seemingly the victim of a robbery/home invasion gone wrong, but soon it seems she’s one of many victims. Her death spurs the investigation that follows. Fajardo, a well-known and loved Spanish character player is a mysterious menace as Marcos, the Caldwell chauffer. His constantly leery look leaves everyone wondering what exactly is going on in that mind of his. George Rigaud, another of the many Argentinian actors who found fame abroad plays Uncle Ralph. An amateur Occult historian, he soon begins to wonder what connection is afoot in the string of killings, worried about his nieces and a small girl at the church. Alan Scott, an American expiate who had a 20 year acting career in France, plays the local Doctor, determined to restore Martha’s ability to speak, and also has romantic feelings toward her. Why he seems flustered under certain events is unusual.
The Inspector and His Assistant Looking Over all Angles (from RaresMovies/Over-Blog)
Franco Fantasia, an Italian actor, and Lorenzo Robledo, a Spanish actor, normally known for stock player secondary and cameo roles, get to shine as supporting players as the inspector leading the serial investigation and his assistant respectively. Completely stumped at the randomness of the killings, both the inspectors find themselves having to remain one step ahead of whoever the mysterious maniac is going around killing the women around the village. The only clue is that the deaths have something to do with being next to a cemetery and somehow revolving around the Caldwell clan.
Going Over All Evidence (from The Corrierino)
Unlike the mess that resulted in the ending of Cosi Dolce…Cosi Perversa, Lenzi and his co-writers make these red herrings stick, and the ending, while simple, still packs a punch and leaves viewers wondering what they missed while following the cast around to figure out what’s going on.
(The last hurrah between Umberto Lenzi and Carroll Baker is indeed bittersweet, but is still very much recommended as they keep the audience in the dark and wondering until the very end. While the ending is considered a little too simple in comparison with the red herrings roaming around, it still comes out of left field and leaves anyone who views it completely speechless and its not what’s expected at all. That the killer is able to take advantage of the hysteria and do what’s needed to keep the police off of the trail makes the ending all the more interesting. The Blu Rays from Severin Films and Le Chat Qui Fume [The Smoking Cat] both offer quality video and audio transfers of the film, and nice extras. One of the special features of the French Blu Ray is the mini documentary on Umberto Lenzi’s career that is also available on the Grindhouse Releasing disc of Rome Armed to the Teeth, but is only subtitled in French. The Severin Blu Ray wins out mainly by being English subtitle friendly on the feature film and Lenzi’s interview regarding the feature. The French Blu Ray is still worth getting as the entire film soundtrack is available on CD.)
All images courtesy of Google.com/Google Images and thei respective owners
(The Cycle of the Melodic Gialli: The Lenzi/Baker Edition 3)
(All opinions are of the author alone)
(Mild Spoilers)
(Review is of the Italian language version)
Italian Film Poster (from Film Affinity)
Paranoia (A Quiet Place to Kill) (1970) ***** R
Carroll Baker: Helene Sauvage
Jean Sorel: Maurice Sauvage
Luis Davila: Judge Albert Duchamps
Alberto Dalbes: Dr. Harry Webb
Anna Proclemer: Constance Sauvage
Marina Coffa: Susan Sauvage
Lisa Halvorsen: Solange Duchamps (as Liz Halvorsen)
Hugo Blanco: Miguel
Jacques Stany: James
Written by: Marcello Coscia, Rafael Romero Marchent, Bruno Di Geronimo, and Marie Claire Solleville, from a story by Coscia & Marchent
Directed by: Umberto Lenzi
Synopsis: While recovering from an accident during practice, a lady racecar driver is offered a large sum of money by the woman currently married to her ex-husband to kill him. When the wife is killed instead, the ex-lovers resume their affair, only for the dead woman’s vivacious daughter to make a surprise visit.
Marital Discourse at the Extreme (from Mondo Digital)
Paranoia is a really unique film in that it not only reunites Umberto Lenzi and his favorite leading lady Carroll Baker for the third time, but also reunites Baker with her Dolce Corpo di Deborah (Sweet Body of Deborah) leading man Jean Sorel for a second time. Lenzi once again takes the film to France, this time in the luscious countryside somewhere in the South, where seclusion can lead to all sorts of surprises and intrigue. The film takes the familiar Mystery Suspense concept of marital infidelity, revenge, deception, and greed to a whole new level as a woman cheated out of her savings scraps by doing varied jobs, including professional racing, finally hits rock bottom when an accident prevents her from returning to the sport. At first curious when she receives an invitation to relax at her ex-husband’s private villa, the woman soon finds herself in a strange triangle wherein the trophy wife wants her husband dead for reasons known only to her, while the husband would very much like to enjoy both his ex, his current wife, and the wife’s Lolita like daughter. The wife decides to offer money to the struggling woman as she had once before tried to kill the husband for his varied infidelities, but events take an unusual turn and suddenly unexpected complications happen. What follows is an intricate plot that has many twists.
Opening Title Sequence (from Twitter)
Even more interesting in the film’s history, is thar its being made came virtually by accident. Lenzi’s first collaboration with Baker, Orgasmo, was originally titled Paranoia during the writing stage, and was released in the US under said working title. For some reason the Italian producer changed the title during post production, and the ensuing confusion over what title was used by which country lead the producers to commission a film titled Paranoia with a completely different script.
The Time to Decide: Life or Death (from Listal)
Lenzi once again makes incredible use of the locale of France, this time in its equally exotic countryside, beautifully capturing the amazing mountain landscapes, lush plant life, the varied homes, and the bright blue sea surrounding it. Some of the mountain roads look very similar to the roads seen in Alfred Hitchcock’s To Catch a Thief from 1955, which offered both beauty and suspense.
Wrong Way to Forget (with the Italian Favorite Drink: J&B) (from Diabolique Magazone)
Carroll Baker, in another fine performance for Lenzi, once again dons the garb of a lovely and alluring woman in the role of Helene. Once a woman of means, Helene’s former husband Maurice blew almost all the money on his extravagant lifestyle and womanizing ways, forcing her to do everything from model to engaging in the hazardous sport of car racing. Memories of her ex help to cause a crash that indefinitely pauses her racing career, and she soon finds herself back at Maurice’s country home, duped by the current wife to coming to stay while she heals. The current Mrs. Sauvage is tired of Maurice using her only to keep up his fast lifestyle, and believes having the ex-lovers remember their past will lead Helene to try to kill him again. With a sum of nearly a million dollars being offered to kill the lecherous Maurice, Helene finds herself in a precarious position that takes wild and constantly crossing turns.
The Ultimate Rascal (from Mondo Digital)
Jean Sorel, a kind of poor man’s Alain Delon, provides his usual style of playing men of mystery and deception in the role of Maurice. A gigolo in every sense of the word, Maurice tends to always lure the loveliest and wealthy of women with his charm and smooth voice into his clutches. Preferring the jet set lifestyle of parties, rich food, boats, mistresses etc., Maurice will do anything to keep up appearances. He briefly gets a reality check when ex-wife Helene tries to shoot upon learning he lost all of her money in his fast lifestyle, but again marries wealthy because he has no intentions of giving up living on the high. Little does he seem know his current heiress wife has had enough of him playing her for a fool, and his may very well be numbered. That he truly still has an attraction to Helene, even though bad blood still exists between them makes for another complication as he could very well be planning something himself.
Two Women with a Plan (from Blood Sucking Geeks)
Everyone Wants the Truth (from IMDB)
Concerned Daughter, or Scheming Lady Oedipus? (from IMDb)
The two leads are backed by a stellar cast of character performers including Luis Davila, Alberto Dalbes, Anna Proclemer, and Marina Coffa. Anna Proclemer, an Italian stage actress who occasionally dabbled in films and TV, plays Constance, the scorned wife of Maurice who finally decides he’s hurt too many other women, and tempts the broke Helene with a large payoff is she’ll agree to murder Maurice. Her plan seems fool proof, but nothing is ever easy. Luis Davila & Alberto Dalbes, Argentinian actors who migrated to Europe for successful careers, play Maurice’s closest friends, a judge and doctor respectively, who become concerned when both Maurice and Helene experience and health and mental stress. Only the judge becomes intrigued when Maurice makes hints he’s concerned for both their safety and the doctor presumably catches footage of a murder taking place. Marina Coff, an Italian beauty who very briefly dabbled in acting, is quite an underestimated in the role of Susan, Constance’s daughter. On the outs with her mom due to her sexual awakening, Susan initially comes to the mansion to make peace, but finds her mom has died under mysterious circumstances, and wants to find out why.
Film Collage (from Rarbg)
While lacking the ultimate twist and turns of Orgasmo, Paranoia still offers the intrigue, mystery, suspense, and intricacy that a Thriller needs to be successful. All the cast, particularly Carroll Baker and Jean Sorel do a fine job with a well written script.
(I highly recommend this film to fans of films in general, and Mystery Thrillers alike. It’s equal with Orgasmo in its construction and misleads to the ultimate revelation and hits the mark 10 times over to what Cosi Dolce, Cosi Perversa seemed to overshoot. While not as mysterious in plot line as its predecessors, Lenzi and his writers are still able to make the audiences wonder what will ultimately happen in the end. The Blu Rays from 88 Films and Severin Films are both equal in presentation in audio and visual quality, as well as extras. 88 Films get a slight leg up in price, the offering of a mini booklet with info on the film and notes by Giallo historian Rachel Nisbet, and the retaining of the original Italian title.)
All images courtesy of Google.com/Google Images and their respective owners
![Vampyros Lesbos – [FILMGRAB]](https://film-grab.com/wp-content/uploads/2016/01/40155.jpg)
